This journal article describes East Coast Haida and Tsimshian painting technique and Great Lake region dyeing practices. Proficiency in these crafts is related to the degree of cultural sophistication of the tribe. East Coast painting was supported by a complex school of art. Artists were often supported by patronage. Permanent settlements allowed for the establishment of studios. Cedar house fronts, canoes, boxes and masks served as supports. Pigments were of natural origin, charcoal black, red and yellow ochre, diatomaceous earth white, green and blue from copper carbonates. Medium vary, that reserved for fine work being salmon roe chewed with cedar bark. A limited dye technology existed for the decorating of Chilkat blankets. Forest dwellers of the Great Lakes were proficient dyers utilizing a large number of available plants. Until Europeans introduced alum and copperas, fruit juices served as mordants. Goods to be dyed were boiled with the dye plant. Some native pigments that originate from animal sources are yellow derived from buffalo gall bladder, calcined bones and shell. Paint was applied with brushes, fingers, animal teeth, stamps and bones. This documents native pigments and dyes and describes methods of application.