A fist-sized hole is made in the clay and equal amounts of gray-pink and blue sand is placed in the depression. A smaller hole is made in the blue sand and water is poured into the hole. The substances are then kneaded together. The mixture is then wrapped in the cloth, washed, and covered with a towel to prevent moisture from escaping. The clay is allowed to a day or two to dry slightly and stabilize. The pukis or "supporting mold, a dry or fired clay shape where a round bottom of a new piece may be formed" allows the potter to build the base of the pot into a pancake-like form. After squeezing the clay together with one's fingers, a 1" high wall is pinched up from the pancake-like base. A gourd rib is used in criss-cross motions to smooth out the wall, making it thick and even. Long coils of clay are laid on the top of the clay wall. These are then smoothed out with the gourd, allowing the potter to increase the height of the pot. Any air holes are patched with clay and sealed with the gourd rib. After drying, the pot is scraped, sanded, and polished with stones. This is the most time consuming part of the process. A small round stone is applied to the side of the pot in consistent, horizontal, rhythmic motions. The pot is burnished by rubbing the stone parallel with the side of the pot to produce a shiny, evenly-polished surface. The pot is then ready to fire after a secondary slip is applied. The slip is painted onto the burnished surface in various traditional designs. Firing Maria Martinez used a firing technique called "reduction firing". A reducing atmosphere occurs when the air surrounding the pots does not contain enough oxygen to feed the flames. This causes a chemical reaction that darkens the clay body. The firing process would take many hours in addition to the weeks of preparation beforehand. She often was assisted by her husband or children. The firing occurred early in the morning on a clear, calm day when wind would not hinder the process. First, the pots were placed in the firing pit, and carefully covered with broken pieces of pottery and aluminum sheets or scrap metal. In order to allow ventilation to keep the fire burning, small spaces were left uncovered. The pit-kiln assembly