Roberta12

I would be looking at reducing the psi you spray at and / or the size of the tip of the nozzle so you can get a smoother overlap. Also the distance you are spraying the pot from makes a difference. Just backing up a bit might help also.
Insofar as your other question about what glazes layer well have a look at the chemistry of the glazes you are using. Interesting glazes can happen when 2 dissimilar type glazes are layered.  If one is high in alumina and low in silica (like most matte glazes are) try layering that with a gloss that is low in alumina (it will be high in silica) and likely quite fluid because of the low alumina. What the one glaze is low on it will try and pull from the other glaze, this can lead to interesting overlaps. Like others have said having titanium in one of the glazes (from titanium dioxide or rutile) also helps.

I play around with glaze layering off and on,  I usually have some small bisque ware on my shelves.   I coat them with SCM   and then add two or three layers of glaze that I have sitting around.  I even use my miss mixes.   I have gotten some good looking pots and some real dogs,   it is a lot of fun to experiment.     Denice

Thanks to all for the good advice.  I had a customer ask for "drippy" glazes.  She was not in a hurry so I have spent a bit of time testing this summer.  What @neilestrick and @Bill Kielb mentioned about titanium seems to ring true with this summers test o fest.  One combo that was a knock out was Selsor Temmoku with Strontium Crystal Magic over.  Gorgeous.  Right now I am trying to find a purple that will meld (run, drip) with blue and green.  And with Blues and greens that I have or at least have confidence in.  
r.

@Rebekah Krieger, you said you are looking for “seamless” results. Can you expand on what you mean by that? When combining more than one glaze on a pot, there’s almost always going to be a seam. Though @Pres has a great suggestion about softening seams with sprayed glazes. Or, are you overlapping multiple glazes, where one glaze completely covers another glaze? In this case, the result will be seamless no matter what. 
Or, are you asking which glazes look nice next to each other, more in a “harmonious” way rather than “seamless”? 

I use a Braava Jet robotic mop in the studio, made by the same company that makes Roomba.  I do pre-mop the biggest blobs of clay with a regular mop and bucket, and then turn on the robot mop to finish cleaning while I work on other thins,  For rags with clay, I keep a bucket under the sink in the studio filled with water and a bit of bleach,  Dirty rags go in there to soak.  After a day or two I carry the bucket outside, wring out the rags, and use the remaining clay water to water plants.  I will  repeat this with fresh water until the rags are mostly free of clay.

I also like to layer glazes, and often will do a dip with two contrasting colors. However, I believe that contrasting color also means contrasting values, one stronger than the other. At the same time,
I often spray colors on over the dipped layers to mute the line between the dipped colors. Rutile green or blue from Van Gilders glaze recipes works well for this.  As the transparent glaze uses rutile(containing titanium oxide and trace elements) causing interesting breaks in texture over the other glazes as @neilestrickhas already alluded to.
Running test tiles or small test pieces like shot glass vessels really help to pin point combinations. At the same time if using 3 colors it is really important to understand a little about color theory in choosing your glaze colors.
best,
Pres

No, 400c is a long way from cone 04. There is virtually the 100% reality they are not bisqued at this point as you are accustomed ……. so different than you are used to. Multiple bisque firings to cone for under-glazed pots are a common thing,  usually with no noticeable effect for the decorator other than their underglaze is more permanent as intended.

I posted that recipe long ago hear-its on all my high fire shelves. Its bullet proof  and it comes off if neded as well.

The good news is that if you make or buy a good quality kiln wash, it will last for quite a long time.

If you had really burnished the greenware clay, it may have been too solid a surface to absorb the underglaze and combine with it. It may have just been sitting on the surface and didn't melt into the clay particles. I've had the bubbles of underglaze and glaze happen too, so as Bill said, use a watered down first layer of underglaze. That will sink down in between the clay particles and then add another layer or two of underglaze to adhere to that one.  
When those bubbles have happened to me, I break them and sand or Dremel like you're doing, add more underglaze and top with glaze and refire. It usually comes out fine. 
Just remember that you want to get different surfaces to interlock so they melt together, whether it's clay to underglaze to glaze. Bisque is really porous, soaking up the liquid, but a burnished clay may be too tight to absorb underglaze and it sits on top. 

Good Morning Christy Ann. I have years of experience with MN Clay. 
When you mention Minnesota Clay 03 are you referring to Minnesota Clay #3 White Stoneware? It's been a very popular white stoneware for many years. 
Are you using the clay right out of the bag or is it reclaimed clay? Sometimes reclaimed clay can have bits and pieces that bloat in the glaze firing.
I use Amaco underglazes and regularely fire them to cone 6.  I use a cone 6 clear glaze over them.  Is your glaze a cone 6 glaze? Do the bubbles appear to be clear, i.e. glaze like, or does appear that the actual clay piece has bloated/bubbled?
 

Hi Gracie and welcome to the forum.
What I think is happening is your clay is porous to a degree that water is seeping through the clay through the crazed glaze (those fine cracked lines) and leaving soluble salts deposited in the craze lines on the surface of the pot. You could try thoroughly drying the vase out and adding a sealant to the inside of the vase. Another alternative would be to use a jam jar or some some thing to hold the water inside the vase and leave it as it is. Is this a pot you made or one that was bought or gifted to you?

I do all my underglaze work on greenware (the dry side of leather hard), because I also do mishima work on everything, which requires the pot to be soft enough to carve lines. Plus the underglazes I use (Speedball) take glaze better if they've gone through a bisque firing. If I wasn't doing mishima I'd apply my underglazes at bone dry, because they dry faster than at leather hard and you can wipe/scrape off mistakes much easier than on bisque. On bisque some colors will stain the clay enough that you can't get it completely clean.

Just asking if you used your normal glaze fire program since the kiln was packed with typical glazed ware or did you slow it down and fire on a bisque schedule but to your planned glaze temp?

That's definitely possible. Turn it off if it's a hassle, otherwise leaving it as is won't do anything.

Output 4 has 3 different settings, depending on what you are using it for. In standard kilns it's not hookup up to anything, so it doesn't serve any purpose and won't have any affect on your firings if nothing is wired to it. 

In addition to the glaze maybe not being compatible, underglazes generally need at least 2-3 coats to show up well. If you're applying to bone dry ware you can probably get away with 2, but if you're applying to leather hard, you will need 3-4 coats to get good coverage, depending on the color.

Yes, 11 years of turning on the vent fan as a separate operation.  It was just a surprise to see that Fan 1 off Fan 2 off pop up.   
I thought about resetting, but didn't know what else I might wipe out.  I have 2 vary fire programs that I use.  One is the bottle slumping program and one is for roasting ravenscrag or alberta slip.  They would be easy to reprogram.   
Thanks Bill.
r.

You can try setting to option A in the hidden menu which should start it at the beginning of firing and end operation on completion. The hidden menu here: https://binst.s3.amazonaws.com/uploads/manual/asset_path/36/v6cftechnicalmanual.pdf
since I believe you do not have a fan connected to it, off would be the correct answer.

The cone of shame!! We've got those in many sizes at our house with all the pets we've had.
I've seen people cut a hole in a lid and put the stirrer through the hole to lessen the spray. I haven't tried that myself though. 

Interesting, haven't considered using a toilet brush, but it  sounds like a good tool. I like being able to use tools from around the house instead of buying specific items for pottery.
I use a spatula to scrape the bottom and then a paint stirring stick. 
Betty
 

Years ago, I left about 100 raku pots on the back porch that faced an alley. We lived in a 3 room apartment back then, and the first two nights with the grad work pots from a summer course with Dontigny kept us up at night with the pinging! By the end of the second year the pots were gone. Some times later I would be in someone's house looking at a corner, or a fireplace mantle to see on of those old raku pots. Disconcerting in a way, but you always had to smile at one persons trash another's treasure. I hated those raku pots, as I was told to loosen up my throwing, and the pots all turned out looking like Dontigny seconds. Raku for me had been a bad experience all summer long. worn knuckles of my right hand with open sores the entire summer from the sandy clay body, frustration with the throwing, but enthralled with the fire and the smoke and the surfaces from copper to greens and whites with crackling. They spoke a part of me that loves surface.
best,
Pres

Perhaps it has nothing to do with marketing, and the pottery is just a kind person trying to share some joy? 
Betty

I have done a version of that.  Rather like @Babs  Things that are definitely usable, have life left in them.  I think my neighbor and I are going to plan an art drop.  He's a photographer.  We want to see if we can get other local artists to do it, just for fun. 

I have done a version of that.  Rather like @Babs  Things that are definitely usable, have life left in them.  I think my neighbor and I are going to plan an art drop.  He's a photographer.  We want to see if we can get other local artists to do it, just for fun.