From Dean Wilson at the Southwest Ceramic Typology Project: Tularosa Black-on-white was defined by Gladwin and Gladwin (1931). This type is similar to Reserve Black-on-white, but exhibits later painted styles and manipulations (Hays-Gilipin 1998; McGimsey 1980; Nesbittt 1938; Rinaldo and Bluhm 1956; Wilson 1999). Surfaces tend to be slipped, well-polished, and lustrous. Tularosa Black-on-white appears to have been produced from about 1150 to 1300 and is commonly associated with large late villages in the Southern Cibola Anasazi and Northern Mogollon regions.

From Oppelt (2007): The surface of this type is very well polished and finely slipped with a white to gray slip that may be thick and crazed. The temper is finely crushed sherd and fine sand. The surface color is white to gray. Jars and pitchers are the most common fonns, but bowls, ladles and effigies also occur. Pitchers often have animal effigy handles. The paint is mineral matte black to brown. Motifs are curvilinear and rectilinear bands of solid and hatched elements. Hatching is oblique as in Reserve Black-on-white but with finer line width and spacing, or it is longitudinal, an outgrowth of the common panel divider in Red Mesa and Puerco. Hatched elements are smaller than in Reserve, but still larger than the opposing solid elements. Common elements include: herringbones, small opposed solid steps, and frets with stepped ends; stepped elements are more frequent than hatched elements. Jar necks often have designs made up of solid elements. Bases of jars often have a star shaped open area. Tularosa Black-on-white has a thicker slip, better polishing and finer line work than Reserve. This type is most abundant in the White Mountains of east-central Arizona.