ahundred T. wolfsatyr

@wolfsatyr.bsky.social

358 Followers 471 Following

I draw large men in locations. He/him, 37. ahundred.gay (i'll get this back up soonish) furaffinity.net/user/ahundred t.me/wolfsatyr (nsfw)

on a little ring-bound notebook, a shaggy tired-looking man with big shoulders and curly horns leans over. Behind him the underside of one of those floors made of stood-up 2x6s atop large widely-spaced joists, with a pipe and a duct, one of the beams leads into the end of a thick brick wall, with a corbel. The goat wears a cable-knit vest
In a steamroom covered in white tile with trim of turquoise, deep blue, cinnabar, and metallic yellow, with a wide, high alcove in the shape of a four-centered arch to the left containing a radiator and an outward-facing fluorescent light fixture with pinkish tubes connected to an ornate oblate-spheroid wire-and-vellum lampshade hanging from the top of the alcove, and below which the tiles are in a ten-pointed-star pattern, and in front of that at the very bottom left of the picture is another radiator decorated with quatrefoils, sits, ontop of chairsteps decorated with zig-zags and stripes and gold bands of mosaic tiles, a very large wolverine with dark rosy fur, darker on his chest of slabs, loosely draped with a comparitively small towel with red pinstripes and fringes. The Wolverine contemplates his setting and his sudden bigness. The wolverine's right elbow rests in the alcove, his left on the sill of a high, wide arched window at the top of the chairsteps, set with blue and amber glass bricks arranged in an eight-pointed-star pattern. Below his bicep and inbetween his forearm and side reclines a weird goat-thing with a long red tail, head back and eyes closed. All horizontal surfaces in the room are covered in wooden slats, except the floor which is of pale cyan tiny rectangular tiles in a flowing pattern.
THE ULTIMATE CHECKER THE MARATHON A-12E Regally simple, of classic dimensions, the A-12E provides the proportions of a limousine without the ostentation or expense. The 129-inch wheelbase supports an autombile that can accommodate forward-facing auxilliary, optional seats in the rear compartment for six-in-back seating with comfort. 305 CID V-8, automatic transmission, power front disc brakes, power steering are standard equipment. A noble top-of-the-line automobile—understated in simplicity—unmatched in value. Checker Motors Corporation reserves the right to change at any time, without prior notice, price, colors, materials, equipment, specifications, and models or to discontinue models without obligation to anyone including previous purchasers of current models. Some equipment and accessories illustrated are not standard equipment and will be furnished at extra cost if available. Printed in U.S.A. ©1976 Checker Motors Corporation Kalamazoo, Michigan The car pictured is a brick-like sedan with an unusually long rear door, with a perfectly rectangular window. It's light blue with a black top, it has a slight fender-bulge behind the trailing edge of the rear door. It has two round tail-lights on the fins and a beam-like rear bumper The rocker panel has a rubber cover under the front door where one might scrape their heels
a mockup of a sparse gray steel control panel with a nixie-tube display of a countdown reading 04:29:22, a few toggle-switches, and two dials with turned steel knobs inset in a rectangular cut-out. The labels are in Russian and read top left to bottom right "ОТКРЫТО ЗАКРЫТО ВЫСОКОЕ ВЫСОКОЕ НАПРЯЖЕНИЕ УНИВЕРСАЛЬНЫЙ ЗАКРЫТО НАПРЯЖЕНИЕ УНИВЕРСАЛЬНЫЙ" in the middle are the words "Film Editor Ferris Webster" in white
a powder-blue telephone handset next to its cradle with a big ol' dial in the center, but not quite as big as one would expect
A foggy streetscape of distant Romanesque cliff-faces of stone arches, in the foreground a stately Beaux-Arts iron arcade with a glass roof. There are some people under the structure whose heads do not reach halfway up the columns. There is a lone telegraph pole, and it all sits on shiny cobbles
C.E. - Seattle, WA - 1 day ago - Edited I am saddened that architecture has slummed so low with this tasteless 4-unit monstrosity in Roosevelt. The neighborhood has lovely older homes. This ugly hulk takes up the entire lot and lowers the bar for any sense of aesthetics. Neiman Taber are the architects. I am a fan of new and density but style matters. Without it, it feels like a crumbling of something vital to our humanity. ... see more heart 166 comment 166
a weird little goat-dog-thing wit horns holds a slice of plain pizza in his maw, little fangs sinking into the crust. The slice is somewhat sisister-looking even for having sat around a while. The creature's pupils are horizontal and its eyes vacant, tho focused somewhere to the right of the viewer. There is a traditional long red tail with a spade at the end poking into the frame on the right, whether it belongs to the creature pictured is not clear.
In fanciful bold red text with a tail on the C: "Chi-Chi's" in a black and red box "Taco Seasoning Mix" and next to a little clip-art trumpet in green cursive "Let the Fiesta Begin!". Below that, two hard-shell tacos with a scant arrangement of orange cheese shreds next to some tomatoes and a green pepper
a monochrome rendering of a fennec fox with swooshes under their eyese and over their thick arched brows, parabolas on they ears, and paws over their head, their right being made out of metal. They got big dewey eyes looking ahead and their snoot is pointed downward. In a black bar across the bottom in Atkinson Hyperlegible are the words "when ur mean to me online this who ur bring mean to"
It's no secret that human relationships are complicated affairs, filled with their fair share of emotional challenges and compromises. We often find ourselves trying to navigate our feelings for one another, while simultaneously balancing our individual needs and desires. In the process, it's not uncommon for us to overlook or minimise the impact our significant others have on those around us - or the surrounding ecosystem. More specifically, we may fail to recognise that our boyfriend is still toxic to birds. Unfortunately, in this case, your boyfriend is not emotionally or metaphorically toxic - I'm sure all your friends would agree he's a model specimen in that regard! - he is actually a biological threat to bird populations due to his status as a literal biotoxin. His very presence near bird habitats, or in areas where birds congregate, could prove fatal to them. Even casual contact, such as brushing against their delicate wings, sharing food sources, or drinking from the same water fountain, could prove fatal. Every year, your boyfriend unintentionally kills over 400,000 birds by discarding coffee cups, icecream cones, tongue depressors and disposable cheek swabs in municipal garbage receptacles. His use of outdoor light fixtures confuses and disorients migrating birds who rely on celestial cues for navigation, and his toxic aura ensures that their final moments on this earth are spent consumed by pain and fear as they plummet into the frozen ground. The evidence is clear. If you continue to ignore it, you are putting innocent avian lives at risk. It is vital that you take action to protect these beautiful creatures from further harm. Ultimately, leaving your boyfriend, who is toxic to birds, is a necessary step towards ensuring the health and survival of avian populations. Only by removing hiim from your life will you be able to fully commit to being a responsible steward of the environment and an advocate for the wellbeing of all its inhabitants.
a star-shaped blossom with eight pointy petals, goldenrod to pink in the middle, with a brilliant pink stamen. The leaf-shapes in the background are thick and dark green, like those of a succulent
in an field of indigo, a tiny bust in pixels 28×35, of a little goat-thing with curly horns, a big shaded eye in the shape of a U, and a little smile at the end of his snoot
A chihauhua in a blue shirt presses their ear against an AM/SW-only radio with many switches. It says "KEXP is not supported by FUCKERS LIKE YOU"
against a speckled black background, in butter yellow, cotton-candy pink, and granny-smith green [the artist is hungry] the hex codes dabb1e, e8a498, and 4ada2a
poking his snoot through a rectilinear hole in the veil, the rest in shadow, is an orange and gray goat thing, his grin bearing teeth the same color as his body, might be fur might not be, and in his big golden eyes are a horizontal pupil and a cruciform pupil. His nostril is a little more reminiscent of a skull than a flesh-bearing creature
A text box, at the top reading ahundred T. wolfsatyr @wolfsatyr 1 yr. ago In a serifed font squished to the wrong aspect radio the words "this site is a..." Below that at a different angle "Blink-Free Zone" and floating to the right a pixelated red NO symbol over "blink" in angle brackets
The head and left forepaw of an orange cat emerges from the dark den of cookware in the lowest shelf of a white metal kitchen cupboard
In profile, a bright-eyed red panda in high-waisted bluish gray prince-of-wales-check trousers held up by green suspenders holds a large green glass bottle full of clear liquid, with a blue and gold label that reads "Chatouill" before being covered by his paw. He is stocky, unclear how tall he is but the viewer peers up at him from below his bulbous shiney-black-furred pecs and his broad tawny shoulder. His yellow eyes are pointed somewhere down and to the right.
Merriam-Webster Logo - Your 2026 Word: nilknarf
A bright-green winged creature with a long beaky snoot and an orange spiky mohawk holds against his chest a small stringed instument with a wooden teardrop body and holes shaped like cursive Fs. His football-sized biceps cradle the instrument as his left paw is by his rimless glasses holding its neck and his right by the end of his beak to strum the strings. He's wearing an orange-red shirt, lilac suspenders, and light gray high-waisted slacks. His claws, including the big ones on the uppermost extent of his wings, are orangey-yellow to match his hair, his long tail is looped behind him and the spade at the end is pointed upward next to his left elbow.
in profile, a dull brownish wolf with curled horns, a brass nosering and earring, in a blue waistcoat with red diagonal dashed lines on it, cradles his paws up by his nose, which is pointed to the upper left, proffering a lil floating heart. This is against a weirdly dark-green cloudy sky. He is smiling and his eyes are closed
a monitor reminiscent of a Philco Predicta hands from a bronze square bar above a rumpled blue cushion on a thick blonde wood chair next to a curved and notched terrazzo and terracotta lectern decorated with triangular dentils in front of a picture window interrupted by gold-buff-colored coved mullions and two casments with horizontal muntins painted turquoise, behind which are rolling foothills receding into a cloudy sky. The monitor displays SMPTE color bars arranged like a pride flag
A colored line drawing of a red fox who's turnt their head real far and is asking for a cigarette
A weird goat thing in a long dark brown coat with gold buttons and buttonhole embroidery up and down the front including the lapels blocks a low stone tudor arch, backed by fluorescent light. he's holding a trident in front of his face and stands on hexagonal-tile floor tho most of them are missing, spelt out in tiles is the letter C
a hand holds a small print of a weird goat thing holding a trident in front of his face, blocking a stone doorway and backed by fluorescent light
[elipses] over the WINGS OF LIGHT (107), within the overall CASCADE OF ROOFS (116), some parts of the cascade are flat and some a steeply pitched or vaulted. This pattern gives the character of those parts which are steeply pitched or vaulted; the next one gives the character of those which must be flat. The roof plays a primal role in our lives. The most primitive buildings are nothing but a roof. If the roof is hidden, if its presence cannot be felt around the building, or if it cannot be used, then people will lack a fundamental sense of shelter. This sheltering function cannot be created by a pitched roof, or large roof, which is merely added to the top of an existing structure. The roof itself only shelters if it contains, embraces, covers, surrounds the process of living. This means very simply, that the roof must not only be large and visible, but it must also include living quarters within its volume, not only underneath it. Compare the following examples. They show clearly how dif ferent roofs are, when they have living quarters within them and when they don't. A picture of a two-and-a-half story side gabled house with a glassed-in porch and a tall chimney, next to a picture of a foresquare with a pyramidal roof One roof lived in, the other stuck on. The difference between these two houses comes largely from the building, while in the other it is no more than a cap that has been set down on top of the building. In the first case, where the I17 SHELTERING ROOF building conveys an enormous sense of shelter, it is impossible to draw a horizontal line across the facade of the building and separate the roof from the inhabited parts of the building. But in the second case, the roof is so separate and distinct a thing, that such a line almost draws itself. We believe that this connection between the geometry of roofs, and their capacity to provide psychological shelter, can be put on empirical grounds: first, there is a kind of evidence which shows that both …
a golden eagle with a blue racing stripe on their head hugs tightly a teal dog with pupilless eyes who seems pleasantly surprised
A survey window begins "What did you think of this video?" Below that in a B&W thumbnail a hand rests on one of two wheelbarrow tires while the other manipulates a contraption between them "Around The Corner - How Differntial Steering Works (1937)" US Auto Industry - 22M views - 16 years ago." Under "Please tell us more" three buttons are selected, Life-changing, Heartwarming, Inspiring. The other buttons are Enjoyable Calming Useful Informative Other Share Feedback
the head of a red smiling dog with a purple nose and some purple something that might be a tie.
A line-drawing of a 1990 Ford Country Squire with a roofrack, alloy wheels, and wide-white-stripe tires, colored-in cream and wood-color and set in front of a mirrored sky-texture arranged like wallpaper in a box. Its headlights are yellow and its long thin running lights are lit red-orange
A tall wooden box with the appearance of having flanges on its sides in the style of cheap art-deco cabinetry of the late 1940s, top center encased by a frame and further by a bezel appears to be an opaque flattened glass globe, below it are two large knobs set in dials with the comical resemblance of forward-facing nipples, between which are five smaller knobs that could play the part of beads on a necklace nestled in the cleft of the breast of this unseen cycloptic figure residing inside the box. At the bot
in cerulean block capitals and a garamond-like print with curly-cues where-ever possible, CANELA The Cinnavali
In a blue sky of whispy clouds 44 pink roses surround a golden frame of eccentric volutes and a coppery grill of seemingly random angles, in the center against a green glowing cartouche and surrounded by raes of light floats an avali with a crown of glowing feathers on his head, claws clasped and looking up and to the left with his tongue stuck out a little, he is traced with gold separating his burgundy feathers from the red of his epaulettes and cuisses, coming to a curl on his wings and thighs. His tail floats beneath his, appearing as one huge feather with a stylized M in the center, closer to the shape of a mordant.
In a Subway station decked with marble, in gray, long staggered tiles on the platform and full-height panels in buff on the wall, below strips of fluorescent fixtures with three tubes each, hanging from an arcade finished in rough plaster shedding its paint in patches, stands an entirely rectilinear train. Its face is like a chisel were you to dramatically compress its shape end-to-end, a simple two rectangles—the one on top twice as large as that on the bottom— arranged to form a point at the horizontal line that separates them. There is a single sheet of glass in a rectangular portal that nearly occupies all the space in the upper portion of the car's fascia, save for about half its width in utterly blank space to the right. Following the same shape in a stainless steel panel below the glass is set four small round lights in toroid bezels, the outermost two are lit up red, the inner two are not. The whole thing is painted a brilliant red-orange, with a slightly greenish yellow stripe along the base that suddenly arcs over the engineer's door at the very front. The fenestration on the train is simply one door then one window divided into two equal-size sashes, receding into the distances. The doors are painted dark gray.
on a wooden countertop, in a cast iron pan, is an unbaked pizza, with mushroom slices, red peppers, and black olives. There is cornmeal on the crust. Outside the pan is a yellow and red Cafe Bustelo can, some vinegar bottles, and a can of Shasta Cola.
a weasel-like thing in a collared shirt or maybe a jumpsuit sits on a windowledge reading a trade paperback. The window is flanked by ashlar pilasters with foliated capitals and topped with a brick arch. The window above the transom have little round lights arranged like a telephone dial.
a bulky, shirtless golden coyote leans over a pinkish-tan car with large cat-eye headlights and a prancing chrome loin in the center of its grill of narrow slats. His paw is on the opposite fender of the one next to which he's standing. The hood is raised and seems to be being nudged higher than it'd usually go by his shoulder. Between his thumb and forefinger is a blue wire with a frayed end. The engine of this vehicle is canted to one side and four exhaust pipes are coming out of it, it's painted red with a yellow fan and an orange distributor cap, there's a shiny round aircleaner on the side opposite to the exhaust. There are some leaves above the windsheild wiper motor. The background is bare concrete with a yellow stripe and a sunbeam cast upon it
Against a white background; a painted line-drawing of a tyrannosaurus-shaped chicken tender—it is a nugget but larger and rougher—facing a large nugget of marijuana flowerbuds with orange wiggly trichromes.
a pink cup of joe against a dark blue background. It's one of those diner cups that's narrower in the middle.
a long black metal panel screwed into beige plastic, with two numerical displays in white frames, above each of which is a large round red light, lit. They read STARDATE 1702.0 - SHIPBOARD 01:08:02