Speaker building can be very easy especially with basic rectangular painted cabinets and a little proficiency using power tools.
Speaker design is much more involved and lots of people make bad to mediocre DIY speakers even when using very expensive drivers.
Read _Sound Reproduction: The Acoustics and Psychoacoustics of Loudspeakers and Rooms_ by Floyd Toole. It's a short (500 pages) summary on what we know about how speakers and rooms work with psychoacoustics ending with the latest research that lets us predict speaker preference using a formula taking into account things like on-axis flatness, off-axis smoothenss, and bass extension.
After reading it you should have a good idea of what's more and less likely to make excellent speakers.
Then read _The Loudspeaker Design Cookbook_ by Vance Dickason. It's a practical guide on how to implement speakers (things like "here's how to get your cross-over to sum flat on-axis") but is short on what's important (for instance you'll just get a rule of thumb on drivers 45 degree -6dB and -3dB frequencies with a suggestion to cross over before the previous and ideally before the later; although with first side-wall reflections around 70 degrees off axis that's not ideal).
After consuming both those you'll understand that tweeter's high resonance (1200Hz) suggests a high cross-over frequency where the 8" will have narrowing dispersion causing a directivity mismatch with unnatural timbre. Assuming you put an L pad on the tweeter to deal with the sensitivity mismatch with that cross-over you'd still have no provisions for dealing with rising response from the woofer, suppressing audible resonances, compensating for baffle step, and dealing with the complex impedances. You'll also understand that the canned cross-over also won't work well since it can't provide the asymmetric slopes and cross-over points needed to seamlessly marry the specific drivers' amplitude response, phase, and physical offset (a particular driver pair might get to a 4th order Linkwitz-Riley acoustic response with a second order electrical low-pass and third-order electrical high-pass).
If you haven't been scared off buy a calibrated measurement microphone, USB preamp, and software. As a minimum you need measurement capabilities (ARTA) after which you can do your cross-overs digitally or with line level circuits running an active bi-amp/tri-amp setup where the technology lets you put zeroes atop the drivers' poles, provide all-pass behavior to adjust for phase differences, and operate your analog realizations into purely resistive loads so text book filters work. Otherwise you'll want cross-over design software too.
Having spent a few hundred dollars on software, hardware, and books you're ready to get started in earnest.
Measure Thiele-Small parameters, build boxes (perhaps compromising with a Q of .9-1.0 for small sealed systems to give the illusion of bass), measure, perhaps repeat if your ported system ends up misaligned, pick cross-over points, test with digital cross-overs, adjust, compromise (a notch can help offset the broadening polar response after crossing to a dome tweeter), build speaker level cross-overs, and be happy until you try again.
If you don't want to do that read the books so you understand what's going on and use that knowledge to pick documented designs from experienced people that are likely to work well for your budget/output level/extension/placement requirements where the level of due diligence increases with budget.