Aesthetically, the fonts look fine, except perhaps for being a bit tightly spaced vertically.
I have some comments about the technical side of things, which though tedious, may be worth looking into. Don't lose sight of the fact that if the fonts work in your Wordprocessor, and are good enough for your needs, then they don't need fixing. However, they could always be improved.
1. Mapping of characters 8218 and 8222 - single and double quotation base seems to be wrong or the design is wrong for this mapping. They look like regular quotes, not baseline quotes. The double quotes are much larger than the single quotes. Is that by design? Swung dash is incorrectly mapped to modfier letter tilde, which is tilde accent. This could be remapped to tilde (126) or Swung Dash (8275, General Punctuation).
2. Running Font Validation results in a lot of errors such as duplicate knots. Taking a close look, one can see that there are far more nodes than necessary. This makes me wonder about the resolution of the scan you used for tracing, and/or the settings used on importing images into Font Creator. The recommended size is about 300 pixels, not 300 dpi.
This is the comma, before and after doctoring to remove excess nodes. Having been an engineering student I prefer smooth curves. As an artist you may prefer a look that is more natural, but you still don't need quite so many nodes to get a rough edge. That level of detail is never going to be visible at normal print sizes, not even on a huge poster.
3. Presumably these fonts are designed with French users in mind, but by using composites you could easily extend the range of glyphs for other European languages and reduce your workload. I noticed that the accented capitals like Ä were about 80% smaller than the regular caps like A. With composites one can scale the composite members if the design requires it, though I don't know if this is usually done. (I'm not a professional typographer). Using composites also removes the possibility that differences might creep in between similar letters.
For example it looks as if, in scaling down the A to make Ä and other accented glyphs, you selected and scaled one contour, but not the other one, resulting in an intersecting co-ordinate, and a difference in design between the two ‘A’s.
By using composites one only needs to adjust the metrics (left-bearing and advance width) for one character, and all dependent composites that use that glyph member will adjust automatically. Then one adjust one diacritic - e.g. ¨ - and all composites that use that diacritic will adjust automatically. It can save a lot of work, as well as resulting in more compact fonts as less glyph data is repeated.
4. Look at the pages on the Format, Settings dialogue, especially the Ranges tab. Your fonts are set to Version 0 and have no Unicode Ranges or Code pages defined. I believe that this may cause problems in some Windows Applications. In Font Creator 5 professional edition, there are several options for calculating font metrics and ranges automatically. This may also correct the vertical line-spacing problem.
I have modified your font according to the above suggestions. Perhaps that will give you some food for thought.
http://homepage.ntlworld.com/pesala/cli ... gmansc.ttf
Note that my version, though it contains more glyphs, is only 34.4 Kbytes while yours was 65.7 Kbytes. Not that file size is a problem these days, as it once was when we wanted to fit a lot on 1.44 Mbytes.