The paint is white, red, green, and black.

Almost all Northwest Coast masks representing human males show a mustache, and often also a small beard on the point of the chin. The characteristic Kwakwaka'wakw use of green paint in the eyesocket is seen here as well as the customary painting of the features. A red formline design is painted on each cheek and merges with the red nostrils. (Holm, Crooked Beak of Heaven, 1972)

This mask was made by Willie Seaweed, an artist well represented in the Burke Museum collection. The heavy drooping eyebrows and mustache, open mouth, and staring eyes suggest a certain naivete. The face is entirely white, with the features in black and red. It is a highly intellectualized piece of sculpture, typical of Willie Seaweed in every way. (Holm, Crooked Beak of Heaven, 1972)

The paint is white, green, and red.

This painted face mask may be used in the Gyidakhanis dance. The eyesockets are painted green, and there is formline painting on the cheeks and forehead. The eyebrows, eyes, and mustache are black and nostrils and lips red. Part of the background is painted white. The lips are rounded and slightly open, suggesting an animation in keeping with the movements of the dance. (Holm, Crooked Beak of Heaven, 1972)

This mask was one of a set of six purchased by Sidney Gerber from its native owner in Blunden Harbor, B. C. It has been repainted white over an older painting and has black eyes, eyebrows, and mustache, with traces of red around the nostrils. Masks were often repainted, either to brighten them up after use had dulled the colors or to change the character of the mask, as appears to be the case here. (Holm, Crooked Beak of Heaven, 1972)

After the disappearance of the excited headdress dancer and the sounding of the Tlasula horns announcing his imminent appearance, the attendants usher in a dancer, or group of dancers, whose function it is to display the inherited privilege toward which the entire Tlasula dance is focused. Some dances, such as the Gyidakhanis, feature groups of dancers and are re-enactments of mythical incidents or dances acquired from supernatural contact by an ancestor. (Holm, Crooked Beak of Heaven, 1972)

This mask was made by Willie Seaweed as part of a set for the Gyidakhanis dance. The most obvious features of the artist are the precision and clarity of the planes of the face and the clean, meticulous painting. The mask is painted a solid white with commercial paint. The tiny mustache, round eyes, and arched eyebrows of typical Seaweed conformation are in glossy black, while the lips and nostrils are in red. (Holm, Crooked Beak of Heaven, 1972)

This mask was made by Joe Seaweed, son of artist Willie Seaweed. The mask expresses what might be surprise or delight, with raised brows and round, open mouth. (Holm, Crooked Beak of Heaven, 1972)

This mask was made by Joe Seaweed, son of artist Willie Seaweed. The character expressed by the little smile and drooping brows suggests innocent, perhaps even gullible wonder. (Holm, Crooked Beak of Heaven, 1972)