SKU: 74276798127
succulent plants ebay

succulent plants ebay Rare Crassula Umbella Semillas Seeds ~ 'Wine Cup' ~ Flowers ~ Succulen – Your Plant Bitch

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succulent plants ebay Rare Crassula Umbella Semillas Seeds ~ 'Wine Cup' ~ Flowers ~ Succulen – Your Plant BitchCrassula umbella 'Wine Cup' is a fascinating succulent with erect, unbranched stems and leaves fused into a roundish structure around the stem. It grows up to 6 inches (15 cm) tall when in bloom. The paired leaves are bright green, usually with raised edges, and up to 6 inches (15 cm) in diameter. Flowers are yellowish green, up to 0. 4 inches (1 cm) in diameter, and appear in a terminal elongate thyrse supported by an up to 4 inches (10 cm) long

Crassula umbella 'Wine Cup' is a fascinating succulent with erect, unbranched stems and leaves fused into a roundish structure around the stem. It grows up to 6 inches (15 cm) tall when in bloom. The paired leaves are bright green, usually with raised edges, and up to 6 inches (15 cm) in diameter.
Flowers are yellowish-green, up to 0.4 inches (1 cm) in diameter, and appear in a terminal elongate thyrse supported by an up to 4 inches (10 cm) long peduncle.

~ You Choose the Quantity of Seeds Included ~
- 5 Seeds.
-10 Seeds.
-15 Seeds.
-20 Seeds.

~ Grow and Care Instructions.

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☂️Crassula Umbella Semillas Grow and Care Instructions☂️

 ~ Grow Instructions ~

  1. It’s best to plant Crassula in spring or summer because the natural conditions required for the seed germinations and seedling growth are perfect at that time. However, if you can provide these conditions artificially (warmth, light and moist air), then you can plant it during any time of the year.
  2. The adequate substrate for Crassula is similar to the Cactus one. This means you can use a readymade mixture you can find at the garden centre. The adequate substrate can be created by mixing garden soil and sand in a 50:50 proportion. In addition to that, you need to enhance permeability by adding pieces of broken bricks, tiles or purchasable perlite.3. The next step is the sterilization of the substrate in order to avoid fungi occurrence. You need to put the substrate into a microwave oven for 3 minutes at least, or in an oven for at least 45 minutes. Cool the substrate afterwards.
  3. Containers for planting Crassula need to be deep around 1.5 inches (4cm). Lay the pebbles at the bottom of the container to enhance drainage. If you previously used these containers for something else, it would be good to disinfect them with hot water or alcohol.
  4. Never fill the container up to the top, leave about 0.4-0.8 inches (1-2 cm) of space for the future seedlings. Lightly press the substrate surface with a flat object.
  5. Dissolve the fungicide in water according to the package label and water the substrate. It’s best to water it by submerging it, but you need to make sure that the excess of the water decants later on.
  6. Strew the seeds across the surface and gently tap it. You don’t need to cover it with the substrate.
  7. Now you need to find the right conditions for germination. It’s important that the seed is provided with an ample amount of moisture. Keeping the substrate moist is easily done by using a transparent glass, foil, plastic bag or similar.
  8. The optimal temperature for Crassula germination is 68°F (20°C). Day temperature can be as high as 73°F (23°C), and during the night the temperature can be as low as 64°F (18°C). Avoid direct sunlight exposure.
  9. Germination usually starts in 5 days, whilst most of the seeds germinate during the period of 3 weeks.
  10. The container should be ventilated every day for half an hour, and two months after germination you can completely uncover it. Do it gradually, so that the seedlings can get accustomed to it.
  11. The first repotting should be done when you come to the conclusion that the seedlings are strong enough to move and have 3 leaves minimum. The seedlings should be moved with a part of the substrate around the root, to avoid root damage.
  12. The seedlings need to be exposed to a medium amount of moisture; the substrate should never be let to dry off completely. It needs an ample amount of light too.

 

~ Care Instructions ~

Place: Crassula needs a lot of light, so you need to provide it with a lot of indirect light. Grownup plants can sustain up to a couple of hours of direct sunlight exposure.

Substrate: Considering the fact that Crassula is in the succulent family, as all succulents it thrives in garden soil, sand and pebbles added for better drainage.

Repotting: This plant is usually not repotted often, once during a period of two to three years or when it overgrows the container. When such thing occurs, choose a container which is one size bigger. Clean the roots from the old substrate and lay pebbles at the bottom of the container. Repotting is best done in spring, so then you can even cut the branches that started to bend.

Watering: You should water it in summer only when the soil is completely dry. It’s best to water it generously and let the water drain completely. Stop the watering completely during winter, or if you see that it’s necessary you can water it up to three times in the period from November to March. When watering the plant, make sure that the leaves stay dry.

 Wintering: Crassula should spend the whole winter at a temperature of 50°F (10°C), and the watering should be reduced to a minimum. If your Crassula will spend winter in a heated room, find a bright space for it so it doesn’t lengthen and water it once or twice a month.

Thank you so very much for supporting my small business!!! 🪴Happy Planting🪴

 

💚 Best Wishes, Your Plant Bitch (Quinn)

 

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4.8 ★★★★★
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Product Reviews
J
Verified Purchase
jk Smiles
West Palm Beach, US
★★★★★ 5
A book on dialogue should be experienced first as a book on tape
Format: Audio CD
I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on August 30, 2018
L
Verified Purchase
Lori T. Sly
Birmingham, US
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful. McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do. However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies! If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why. McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism. Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging. With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else. In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree. But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
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Reviewed in the United States on December 12, 2019
R
Verified Purchase
Ray Pryor
Lowell, US
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 18, 2017
K
Verified Purchase
Kindle Customer
Port Orchard, US
★★★★★ 5
So to speak
Format: Kindle
Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
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Reviewed in the United States on June 12, 2017
C
Verified Purchase
cf otto
Draper, US
★★★★★ 5
ONE OF THE TWO BEST BOOKS ON SCREENWRITING
Format: Hardcover
Probably the best book on screenwriting ever (besides Egri), though there is also much here for the novelist and playwright. I am a professional TV writer, of long-standing (35 years), and I can tell you I used this book to figure out how to fix the problems of a complex pilot I'm writing; the author truly " guided me home." And lest you think I'm a McKee sycophant, I am not. I found little in STORY for me. The only thing I disagree with in DIALOGUE is that the author sells his own work short: it isn't just for those who are "lost" in their writing, like me, and the student, it's for anyone who writes fiction for a living, in any form, no matter how much experience they have. It's that good.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on October 14, 2016

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