I think you should keep the strange stuff (we have enough "normal" typefaces), but you might correct optical things: color issues (like in the UC "V"), the lc "k" join, etc.
One thing I wonder about is the descender depths: maybe it's nice to have them different? But if they're made the same, the "y" is the best one to match.
The serif structure on the other hand seems to clash too much with the overall style.
hhp
http://perso.ensad.fr/~ensadtypo/bertrand.html
This page, and image posted here after show a current group project of my type design students, Ensad, Paris (3 hours by week course). As usual, the end of the year, the students have so much to finish, they don't seems serious as it need to finish it! Anyway, its where they are. And its seems interesting to see what the world (Typophile IS the world!) say about it?
Its a revival of a late 19th century french typeface, from a foundry called Fonderie Bertrand, who probably be purchased by Peignot later. Some of the caps proportions are strange, like the B or M.
My question is do we need to stick to this strange proportions, or need to correct them?
The serif structure came from a friendly confrontation between three groups of students (after a close observation of some results of cutting technics). It seems to work for lc, less in some caps, I think about C, G, S, E at vertical position? What do you think?
Any others comments welcome, despite, we don't know what can be done to correct after your comments. Only next friday of work and the typeface need to be achieved.
