And there's nothing wrong with that! It's just not something you could write a thesis about. ;oÞNo, there is nothing wrong with that as such. Obviously it is a manner that leads to good results. But one can actually write a thesis about this IMHO; at least I’m writing about this in my dissertation.
Look for a good rhythm of negative space. Some letters can't be helped in any typeface, such as the /L.
IMHO that is only true if one purely looks for an equilibrium of white space (or red in the image below):
Those who are familiar with my research, know my ideas about the role of the stem interval for the standardization and systematization of the capitals in roman type by the early punchcutters, as I also describe in my article for The Eternal Letter. From that perspective the width of the L is forced into the pattern of the stem interval of the lowercase. Present-day type designers can do this by the eye because of their conditioning with the archetypal models.
The example below has been made with DTL Haarlemmer. I did not change the proportions of the original capitals from the brilliant hand of Jan van Krimpen.