Pure Gold, New Possibilities: Keum-Boo at the Goldsmiths’ Centre

Keum-Boo may be centuries old, but its combination of visual impact, technical precision and thoughtful use of precious material feels particularly relevant to the contemporary jewellery bench.

This autumn, the Goldsmiths’ Centre will place the traditional Korean technique firmly in focus through two events led by award-winning jeweller and educator Hendrike Barz-Meltzer: an accessible online talk in September followed by an intimate, two-day practical masterclass in November.

Together, they offer both an introduction to the ideas behind Keum-Boo and an opportunity for experienced makers to develop the confidence required to use it in their own work.

Where Gold Meets Silver

Keum-Boo uses heat and pressure to bond exceptionally thin sheets of 24-carat gold to silver. The result is a permanent union of two precious metals and a striking contrast between the warmth of pure gold and the cooler surface beneath it.

The technique can produce bold expanses of colour, delicate lines or carefully layered patterns. Its impact depends not simply on how much gold is used, but on where it is placed and how it interacts with the form of the jewel.

That economy of material is part of Keum-Boo’s appeal. Rather than relying on volume, it allows a relatively small amount of fine gold to become an expressive design element.

Keum-Boo designs, finished samples, 24-carat gold foil and specialist tools on Hendrike Barz-Meltzer’s workbench

Why Keum-Boo Matters Now

At a moment when rising gold prices are placing greater pressure on independent makers, Keum-Boo offers a considered way to introduce the colour and character of pure gold without constructing an entire piece from it.

Yet this should not be mistaken for compromise. The technique has its own distinctive visual language, capable of turning the surface of a jewel into a space for pattern, rhythm and storytelling.

It also rewards sensitivity. Silver must be prepared correctly, the delicate foil handled with care and the temperature carefully controlled. The gold is then burnished into place to achieve a strong and consistent bond.

The finished effect may appear effortless, but its clarity is built on disciplined preparation and an understanding of the metals involved.

Stripy necklace by Hendrike Barz-Meltzer, crafted in recycled silver with recycled 24-carat gold applied using the Korean Keum-Boo technique. Photo credit: Hendrike Barz-Meltzer

First, the Conversation

The programme begins with Techniques in Focus: Keum-Boo with Hendrike Barz-Meltzer, an online talk on 10 September 2026 from 6pm to 7.15pm.

Barz-Meltzer will introduce the history of the technique, share her own journey with Keum-Boo and examine how it can be applied within contemporary jewellery. She will also discuss the tools, materials and processes required, consider its relationship with other gilding methods and answer questions from participants.

The session is intended for jewellers, silversmiths and enthusiasts who want to deepen their technical understanding before deciding whether to bring Keum-Boo into their own practice.

Tickets are offered on a pay-what-you-can basis at £7 or £10, making the talk an approachable entry point into a highly specialised area of making.

Jeweller Hendrike Barz-Meltzer beside a display of her silver and gold jewellery, with images documenting her design and making process. Photo: Hendrike Barz-Meltzer

Then, the Bench

For jewellers ready to move from observation to application, the Keum-Boo Masterclass with Hendrike Barz-Meltzer will take place at the Goldsmiths’ Centre on 12 and 13 November 2026, from 9.30am to 4.30pm each day.

Limited to ten participants, the intermediate-level course provides 12 hours of hands-on tuition. It is designed for makers who already possess established core bench skills and want to build a controlled, repeatable Keum-Boo process.

Participants will work through silver preparation, the handling and application of 24-carat gold foil, heating and burnishing. They will also investigate how pattern, composition, polishing and oxidisation can alter the finished surface.

Micro-riveting and cold-connection techniques will introduce further possibilities for incorporating prepared Keum-Boo elements into finished jewellery.

Rather than leaving with a single prescribed object, participants will create test pieces and technical samples that can become a working reference for future experimentation.

All essential specialist tools and materials are provided. Places cost £499, with bookings due to close on 29 October 2026.

Design sketches by Hendrike Barz-Meltzer exploring proportion, pattern and the placement of gold across necklaces, earrings and other jewellery forms. Photo: Hendrike Barz-Meltzer

Access to Specialist Knowledge

The small class size is important. Techniques such as Keum-Boo often depend on adjustments that are difficult to communicate through instructions alone: recognising the right surface preparation, reading the behaviour of the metal and knowing when the bond has been properly achieved.

Individual guidance allows those details to be observed, corrected and repeated until the process begins to feel dependable.

Access Grants funded by the Goldsmiths’ Foundation are available for individuals experiencing financial difficulty and can cover the full course fee. It is a significant inclusion for a specialist programme involving precious materials and advanced tuition.

Hendrike Barz-Meltzer’s workbench, where traditional techniques and specialist tools are used to transform silver and gold into finished jewellery. Photo: Hendrike Barz-Meltzer

Pattern With Purpose

Barz-Meltzer’s practice makes her a particularly thoughtful guide to the technique. Trained in jewellery design at Central Saint Martins, she creates work shaped by pattern, clarity and the meeting of gold and silver.

Her interest in ethical practice also gives the programme a wider relevance. Keum-Boo demonstrates how material value can be amplified through design intelligence: gold is used sparingly, but never apologetically.

Placed with intention, a narrow line or fragment of pure gold can define an entire composition.

Fine strips of 24-carat gold foil positioned on silver before being bonded through the traditional Korean Keum-Boo process. Photo: Hendrike Barz-Meltzer

The Jewels Club Take

The most compelling aspect of this programme is the bridge it creates between historical knowledge and the realities of making jewellery today.

Keum-Boo is not being presented as a decorative shortcut or a passing surface trend. It is a demanding, expressive technique through which makers can think more carefully about material, value and visual impact.

The combination of an affordable online introduction and a closely taught practical masterclass is also a strong model for skills education. One opens the door; the other provides the time, tools and individual attention needed to step through it with confidence.

As the industry considers how precious materials can be used more intelligently, Keum-Boo offers an answer rooted not in novelty, but in knowledge.

Discover More

Online talk: Techniques in Focus: Keum-Boo with Hendrike Barz-Meltzer
10 September 2026, 6pm–7.15pm
Pay what you can: £7 or £10
https://www.goldsmiths-centre.org/whats-on/techniques-in-focus-keum-boo-with-hendrike-barz-meltzer/

In-person masterclass: Keum-Boo Masterclass with Hendrike Barz-Meltzer
12–13 November 2026, 9.30am–4.30pm
The Goldsmiths’ Centre, London
£499; maximum ten participants
https://www.goldsmiths-centre.org/whats-on/keum-boo-masterclass-with-hendrike-barz-meltzer/

The Goldsmiths’ Centre:
www.goldsmiths-centre.org
Instagram: @gsmithscentre

Hendrike Barz-Meltzer:
www.hendrikebarz.com
Instagram: @hendrikebarzmeltzerjewellery