Photos & records / BROW JOURNAL

Drawn strokes and natural strokes in one line

Jisun Yoo, owner of London Brow · · Editorial principles

The caption on this record from the first London Brow in 2020 is about one thing: harmony between the drawn strokes and the hair that was already there. It is a natural hair-stroke brow, labelled right after the session. Drawn strokes stand in where the hair is thin and sit between hairs where it is full, and in both places they take their direction from the hair beside them.

What the caption is about

I'm Jisun, the owner of London Brow in Seoul. When people search for natural brows drawn and real hair harmony, they are usually asking whether strokes can sit next to real hair without announcing themselves. This record is my answer, and its caption from 2020 says exactly that: natural brows, the harmony of the drawn strokes and the original texture. It is a single photo, labelled right after the session, posted as taken, and it comes from the first London Brow.

I describe the brow, not the person. The brow has two kinds of line in it, hairs that grew and strokes that were drawn, and the caption's word, harmony, is a claim about how the two relate. The sections below are how to check that claim with your own eyes, in this photo and in any other.

Where the drawn strokes sit

Zoom in and look for the places where a stroke has no hair immediately beside it. That is where the hair was thin, and that is where a drawn stroke does the most work: it stands in for a hair that is not there. The way to tell whether it is doing that well is to look at its direction against the nearest hairs on either side of the gap. A stroke that stands in for hair takes the direction of its neighbors, upward if it is near the front, outward through the middle, flatter toward the tail. It does not invent a direction of its own. In this record, the thin places are where I would ask you to look first, because they are where harmony is hardest to keep.

Where the original hair carries the line

Now look at the fullest part of the brow. Here the hair is doing most of the work, and the strokes sit between hairs rather than in place of them. Their job in a full area is smaller: a little more definition along the top edge, a stroke in a small gap, a line that helps the ending read clearly. From a step back these strokes should disappear into the hair around them, and the test is simple. Zoom out until the brow is small on your screen. If you can still pick out the drawn lines in the full part of the brow, something in their direction or their darkness disagrees with the hair. If the brow reads as one texture, the strokes and the hair agree.

The fuller a brow is, the more the design depends on this agreement and the less it depends on adding anything. That is one reason I keep the original impression of a brow rather than redrawing it: the hair that is already there is the best guide to what a stroke should look like.

What harmony means, and what it does not

Harmony does not mean the strokes are invisible up close. Zoomed in, a drawn stroke and a grown hair are different things, and they should be; a stroke is a line on the surface and a hair stands up from it. It means that in direction, in length and in how dark they are, the strokes agree with the hair they sit beside, so that at the distance people actually see you from, the brow reads as one line. It also does not mean anything about a later day. The photo shows the day it is labelled with, and I leave it at that. How much of a brow is drawn and how much is grown varies from person to person, and this record is one brow's answer.

Tell me where your hair is thinnest

Here is the exercise this record asks of you. Stand at arm's length from a mirror in daylight and look at one brow. Then lean in close. The part of the brow that was faint or missing at arm's length and only appears close up is your thinnest part, and it is where drawn strokes will do the most standing in. It might be the front, the middle, or the tail. Note which, and note which way the nearest hairs on either side of it point, because those hairs will set the direction of the strokes.

Consultations at London Brow are translation-assisted over WhatsApp, so send a straight-on photo of your bare brows in daylight with one line: 'The thinnest part is the middle. The hairs beside it point outward.' In the room, ask me to show you on the sketch which strokes stand in for hair and which sit between hairs. If both kinds take their direction from your own hair, the harmony in this record is the harmony you are asking for.

Photo records

Original records published on London Brow’s Instagram, unedited, with the moment of each photo noted.

Before your consultation

  • Zoom in on the record and find strokes with no hair immediately beside them; check that each takes the direction of the nearest hairs on either side.
  • Zoom out until the brow is small on your screen; the drawn lines in the full part should disappear into the hair.
  • At arm's length from a mirror, find the part of your brow that is faint, then lean in; that is your thinnest part.
  • Note which way the hairs on either side of your thinnest part point, and send that with your photo.

Common questions

Can you tell the drawn strokes from the real hair in this record?

Up close, yes, and that is normal: a stroke is a line on the surface and a hair stands up from it. From a step back the two should read as one texture, because the strokes take their direction, length and darkness from the hair beside them. That agreement is what the caption calls harmony.

Where in my brow will the strokes be most visible?

In the thinnest part, where a stroke stands in for hair that is not there. Find it by looking at arm's length and then close up. Strokes there follow the nearest hairs on either side of the gap, and I show you on the sketch which strokes stand in and which sit between hairs.

LONDON BROW · 30-second walk from Seolleung Station

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Share what bothers you about your current brows and the look you prefer. Consultations are translation-assisted.

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