Our cartoons are known in several countries, published by hundreds of newspapers and magazines… let’s share some of them with you!  (regularly renewed)  LIFE IS BETTER WITH HUMOR


This famous ‘facts, no words’ latin saying suits so well these samples of our satiric-art production from old past in the field of silent-humor (without words, precisely).

Hope they can still bring a smile to you today!



The permanent will of improving, innovating, providing new + effective solutions is our ‘way of’ in art, education, advertising, or business.  We are firmly convinced about CREATIVITY being a magic ally to be IN THE VANGUARD.


Creativity defines good part of our professional life in ‘bf©’, and is one of the less studied topics in science, except for some brilliant research in Harvard and some other institutions.

Normally, the first blocking barrier for ‘non-creative’ people is their conviction about not being creative:  we’ve always preferred to go forward looking for the exciting ‘first time’ to happen.

Some of the fields we’ve been creatively involved in, together with respective examples:



The ‘hands-on’ experience with the material (paint, graphite, ceramics, paper, cloth, or whatever you can think) together with the power of imagination, can change our life.  We play and teach this ‘game’ gladly to whoever wanting to join and IMPROVE THE WORLD WITH SHAPES AND COLORS


Let your inner artist get expressed in the way you prefer …we’ll feel delighted while accompanying you in this endless growth journey.

Otherwise, you can simply buy our stuff!  (thus contributing to our diverse projects on research and development in culture, science, and art).  Keep an eye on this!




It happened more than once that my Students in Art hated me after a class of such an interesting topic.  Why?  They found themselves unable to ‘just enjoy’ the next pictures after having learned to decodify their syntactic, morphologic ‘secrets’.

Well, it’s the price to pay for acquiring new knowledge and, perhaps, after having claimed a bit, they begin to enjoy pictures even more.  For sure, more in depth.

Here we go with the essentials I’ve learned about Visual Syntax alongside my long way as Art Professor, and good thing about this is: it is applicable to any type of visual picture (including comic strips or satirical illustrations besides any Picasso or Bacon masterpieces).


Points form Lines that at their turn form shapes or linear patterns in pictures, where:


VERTICAL dominants mean STABILITY and FIRMNESS, and

DIAGONAL/OBLIQUE dominants mean DYNAMIC and UNSTABLE, like in the following examples:

More yet on Lines: they transmit higher SENSITIVITY if ‘handwritten’ style, and PRECISION if geometric ones (WARMER and COLDER could also be an eventual way of interpretation).

The first ones build usually ‘PHYSIOPLASTIC’ shapes (ORGANIC, NATURAL, LIVING forms).

The second ones, ‘IDEOPLASTIC’ shapes (INORGANIC, IDEALISTIC, EXACT forms).

Shapes themselves can be, in addition CLOSED or OPEN (examples below), what normally means more or less SIMPLICITY/DEFINITION: our brain likes to identify simple structural or objectal forms like circles, triangles, or squares.

Pictures can have ÆSTHETIC (beauty) and EXPRESSIVE (strength, impact) POTENTIAL, and usually present 3 main qualities: COLOR, LIGHT and TEXTURE (self-explaining all of them).

DARKER colors make SHAPES SMALLER, LIGHTER colors make SHAPES BIGGER as a general rule.

WARM colors (red, orange, ochre, etc.) bring the image CLOSER, while COLD colors (blue, turquoise, emmerald green, etc.) move the image FARTHER.

Colors also act in COMPLEMENTARY (opposite place in the chromatic circle, like yellow & violet, blue & orange, etc.) or SUPPLEMENTARY (‘neighbors’ in the chromatic circle, like red & orange). This follows a simple logics: being RED, YELLOW and BLUE the Primary colors, each one of them has as opposite the combination of the other two, and as ‘neighbor’ a combination between them and one from the other two.

CONTRASTS (black/white or yellow/violet, for example) CALL for ATTENTION as well as harmonic SHADING COMBINATIONS appeal to a SOFTER, calmer approach to the image.

THE FIELD ACCORDING TO GYORGY KEPES (one of my favorite masters for this):

‘FIELD’ is the whole picture, that we can READ from the following syntactic principles in order to better understand WHY and HOW they impact ourselves in certain, CAUSAL ways:

  1. BEGINNING of our PERCEPTIVE path (in Occidental cultures, at least, as we perceive same way we read written texts, in this case: from Left to Right).
  3. HIGHER (visual) WEIGHT, as being the sky normally unlimited (differently from pictures of it) we find ‘anti-natural’ the upper limit in images.
  4. NORMAL WEIGHT, as we are used to the ground as a bottom limit to our visual reality.
  5. MOST IMPORTANT area (starring role always in the center).
  6. DYNAMIC areas (let’s remember this potential in Diagonal/Oblique lines, real or tacit ones).

Finally, let’s know that the Picture can show UNITY or VARIETY, or a combination of them as an average from its different compositive elements, what we interpret the following way:

From these two qualities (UNITY and VARIETY) we can extract the 5 necessary SYNTAX ANALYTICAL FACTORS (Balance, Structural Scheme, Proportion, Rhythm, and Key Interest Points), all of what we’ll describe in a following article that complements + completes this one (bit of patience, please!).

‘Till the next one,

B (Sr)



Even if I’ve been a mediocre-to-average father for my son and daughter, one good thing I did during their childhood was to help Mome Xtina build the best Birthday-cakes ever 😊

They were always ‘thematic’ (in the photo: a ‘jungle’ one for Bernardo Jr. on his 7th birthday) and 100% edible+digestible, what meant for every element there (in our present case: animals, huts, log fence, water, vegetation) to be shaped and built with healthy pastry materials, including ‘sculpture’ (Marzipan, almond paste, etc.) and ‘painting’ (concentrated colors for confectionery and pastry).

Only thing around this ‘art’ being: it’s so ephemeral! 😊  Normally our children’s classmates were devouring the pies in a heartbit.

On the other hand, good memories of having worked as a true Team (Xtina designing and cooking, me shaping and painting, our children devouring) remain intact today, inspiring us to continue doing so in our current ‘bf©’ engagements.

‘Till the next one!

B (Sr)



Black and white photos are considered normally ‘more artistic’ than color ones …Why?

Simple: they give less information to the observer (only shapes, structures, contrast, degrees of light), what allows her/him to ‘project’ there the colors they need or want to see, by following the natural tendency of brain about completing what seems to be incomplete (in the photos case, the color side).

Thus, this eventual person will be feeling free to ‘mentally paint’ the original stimulus being offered to their assimilation.  This higher interaction between public and piece of art is much appreciated when having to consider the ‘artistic quality’ of the image, sculpture, film, etc.

Something alike happens in communication!

The ‘unspecific language’ so used in Ericksonian-hypnosis (i.e.) is about using generic terminology in order for the receptor to assign their own specific meaning to each piece of emitted message, what will be making them feel so identified with it in the end.  This is about high power of persuasion, among other evident advantages for the emitting side.

Same circumstance, under the NLP lenses, is called ‘inverse meta-model’ and aims towards the same goal: for the interlocutor to complete by themselves meaning in order to feel more involved (persuaded).

Communication, then, is sometimes another form of art, if we honor it through proper management of its whole potential.

Both in art and communication, anyway, the more we consider ‘the other one’ for having active participation in the shared experience, the better.

‘Til the next one!

B (Sr)



Pictures on the wall is just the final result …what about the rest?  We’ve taken ‘Factasmagoric’, a Bernardo Facta (Sr.) exhibition in the Calisay Cultural Centre (CCC, Arenys de Mar, Barcelona) to paint ( 🙂 ) a rapid outlook about an interesting process that ends with the public interacting with the artist production:

a) INSPIRATION: the artist gets involved in the artistic task while being helped by the muses (if they exist), and likes to make the inner thing visible to others in the external world. If an exhibition in mind, some points should be taken into account besides the resolution of each picture itself, as i.e. coherence and homogeneous relationship with the rest of the material to be exhibited (style, techniques, themes, etc.). I got inspired by life in Arenys and other places, by the sea, by the local habits, customs, and festivals, etc.

b) SEARCH: the artist looks for (normally) or is called with (less normal) the opportunity to show the own artistic production by an exhibition that will be lasting during an agreed period, usually a month or so. I contacted the Department of Culture of the City Hall of Arenys de Mar, that liked my proposal and suggested the biggest gallery of their Cultural Centre for a 30 days exhibition. Great!

c) CONCEPTUAL AGREEMENT: together with the curator of the exhibition (or gallery owner, eventually) the artist agrees on the main conceptual sides of the thing, as i.e. thematic definition, type of works and their respective techniques, quantity and variety, etc., already taking into account the symbiosis with the physical space assigned for the exhibition.  I met Mr. Enric Pera, who gave me the gallery plan with dimensions of each wall, and possibilities of lighting, furniture, musical equipment, etc. to adapt to this the quantity and size of the pictures.  70-odd seemed a good number, and would vary from large ones (about 2m x 1,5m) to small ones (50cm x 70cm on average, + couple of additional miniature).  The room had a perimeter of some 40 m, and the main linking idea for the overall exhibition would be a figurative style with expressionist and caricatural tendencies, worked in mixed techniques with both conventional and non-conventional materials.

d) ROOM SET-UP: in some cases (like this one) the characteristics of the room vary from exhibition to exhibition in order to adapt to every new requirement.  The walls color, and the light and (eventually) sound are crucial factors to suggest a particular atmosphere to the public, always in accordance to the primary spirit of the shown works, and their core characteristics.  In our case, the whole room was painted in white for better contrast with the mainly dark pictures to be exhibited there (previous color of the walls was dark purple).  Lights were distributed in homogeneous way in order to easy perception without accessing the works in direct way (bit of diffusion was convenient according to my humble opinion) and the suggested music was delicious instrumental bossa nova with some contributions from melodic pop 🙂  Joan Carles, art and history expert of the CCC, gladly agreed with the choices.

e) EXHIBIT ADVERTISING AND INNER MEDIA SUPPORT:  with convenient anticipation, is good to announce the event (opening and duration of the exhibit) by the proper means, always calling for interested public to accompany the experience and (if possible) to buy!  Sometimes is also advisable to add information indoor, as i.e. signs with interesting data, photos, etc., some videos, or whatever add that both curator and artist could consider proper.   The Centre Cultural Calisay took responsibility for the great signal to be placed in the front part of the building to announce permanently the exhibit to people in the street.  Besides this, same people printed flyers, posters, and brochures in different sizes, some of them to be placed all around the village, some others to be picked directly from the gallery.  Some text that I had to redact with my personal data and info on the display was showed in big typography size on the gallery walls (brilliant printing work, really!).

f) HANGING, MEASURING, DRILLING…  the task of putting everything in place deserves special focus: normally both curator and artist agree a specific plan of distribution that takes into account diversity of conditioning points (as i.e. main technique, common theme, same production time, dominant colors, etc.), and specialized operators are in charge of making this appear in reality, always before the inauguration if possible 🙂   Several persons led by Santi were coping with the millimeter placement of each work inside the CCC biggest exhibition room, according to the plan I passed to them previously, solving in real-time every eventual  inconvenience (normally relative to securing solid attachment of pictures to the wall). One of the largest pictures was slightly warped in one of the wooden pillars of its structure, and the operators made magic (with drills, screws and great ability) so that it was perfectly straight to the wall. Artists …of the set-up.

g) SOMETHING FOR THE PALATE: it’s a classic.  Good champagne or wine + tasty mini-lunch makes public enjoy pictures more, or get distracted from them if not liking!  Enough bottles of cava + dozens of sweet cakes were placed in a fridge near the gallery, in order to accompany the audiovisual stimulations during the inauguration still to come.

h) START-UP! : now yes, everybody knows what it’s like, and so less relevant for the purpose of this report.  Anyway, ‘Factasmagoric’ begun with public success, and the Mayor saying some words of praise and inviting everyone to enjoy the art (or the cava with ‘pastitas’!).

Hope you found this entertaining!  In case of wanting to take a virtual tour of the exhibit, here’s the link:



3D ART (strange as … and usual)

‘R-BOT’ is part of the 3D experiences that Bernardo Facta is involved in, taking advantage of our stereoscopic, usual way of visual perception to extract from an originally 2D artwork the impression of 3D space in an observer equipped with 3D red-cyan anaglyph glasses.

An old idea having always motivated Bernardo, the visual result is kind of strange and usual at the same time: strange because of the three-dimensional elements that fulfill the scene, usual because of the spatial, stereoscopic sensation.

Let’s hope you enjoy! …and have the glasses, of course.

Otherwise, you can make your own 3D anaglyph glasses by simply using two pieces (one red, the other one cyan –blue is almost as good as cyan-) of any from the following materials: cellophane, acetate film, transparency sheet for overhead projectors, etc.  You can place the two colored pieces in a pair of glasses frames no longer in use, or you can cut the frame out in paperboard/ cardboard.  Now you can certainly enjoy 3D!

‘Til the next one ●

(Link here for ‘WHY DOES THE 3D THING FASCINATE US REALLY?’ article)