Above: Spread from my large Leuchtturm 1917 Sketchbook. Pentel fine-tipped pigment ink Colorbrush with Montana blue acrylic paint marker added to the background afterwards. Click on the image to view an enlargement.
While I don't see myself making the Leuchtturm 1917 Sketchbook a regular feature of my journal practice I did enjoy working in it while I was testing it. And once I'd tested it sufficiently I still had a lot of pages left over so I worked on them with what I enjoyed most when working on that paper—brush pen.
I think in part it's the cool bright white of the pages that I find so attractive. I have been working on cream and even grayish paper for so long that it is fun to see the dazzling white of the L1917 Sketchbook's pages when lovely black ink hits it.
The line was so crisp it seemed on most days, a shame to mess with it.
The page's slight texture does drag a little on the brush pen. Normally I find any hindrance in this fashion hugely annoying, but for those days in July when I worked on the book I found it oddly satisfying—a way to slow down.
The paper is thick and opaque so working on both sides of the spread with brush pen ink like this works. If you're using a pigment based ink brush pen the ink doesn't seep through the pages. If you are using a dye-based ink and really slather the ink on and then alter it with a lot of water I've found there will be slight seepage. You just have to be cognizant of this while working.
The book was too large for me to carry around with me so it stayed at home and I got warm up sketches done in it while watching a variety of TV shows.
I'll have more examples of these pages this week. (I haven't fixed my computer issues so I'm not able to work on my video flip throughs right now.)