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ghosties succulent

ghosties succulent Shop 'Ghost Plant - Graptopetalum paraguayense' Care and Info

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ghosties succulent Shop 'Ghost Plant - Graptopetalum paraguayense' Care and InfoIntroducing the ghost plant, known as Graptopetalum paraguayense, which is a low maintenance pet friendly plant that belongs to the Graptopetalum genus. Native to Mexico, it is known for its rosette shaped leaves and beautiful flowers. The ghost plant gets its name due to the pale, ghostly appearance of its leaves. It is also known by other common names such as mother of pearl plant and sedum weinbergii. The ghost plant has thick, fleshy, pointed,

Introducing the ghost plant, known as Graptopetalum paraguayense, which is a low-maintenance pet-friendly plant that belongs to the Graptopetalum genus. Native to Mexico, it is known for its rosette-shaped leaves and beautiful flowers.  

The ghost plant gets its name due to the pale, ghostly appearance of its leaves. It is also known by other common names such as mother of pearl plant and sedum weinbergii. 

The ghost plant has thick, fleshy, pointed, flat, or opalescent leaves that are typically arranged in a rosette formation. The leaves are pale blue-green or grayish white in color, giving the plant its ghostly appearance.  


The fleshy leaves of the ghost plant are often covered in a powdery, waxy substance called "farina" that helps protect the plant from excessive sunlight.

The rosettes of plants can grow up to 8 inches tall and 12 inches wide, and in clumps ghost plants will grow up to 1 foot tall and 3 feet wide.

This makes it a great choice for potted houseplant or as part of a succulent arrangement in your rock garden.

The ghost plant blushes pink, purple, and yellow in full sun, displaying more blues, greens, and silvers in partial shade, and its powdery farina coating thickens under direct sun.  

The Graptopetalum paraguayense flower blooms during the spring and early summer with clusters of small, star-shaped yellow flowers. These flowers attract butterflies and bees, making them a beautiful addition to any garden. 

Propagation of the ghost plant succulent is relatively easy. It can be propagated through leaf cuttings or offsets. To propagate through leaf cuttings, simply remove a healthy leaf from the plant, let it callus over for a few days, and then place it in well-draining soil. Over time, roots will develop, and a new plant will grow. Offsets, which are small plantlets that grow around the base of the mother plant, can also be separated and planted to create new plants. 

Watering Needs 

When it comes to watering this ghost plant, it's important to strike a balance. Ghost plants are native to arid regions, so they prefer drier conditions. Overwatering can lead to root rot and other issues, so it's best to err on the side of underwatering. 

To water your ghost plant, you'll want to follow a "soak and dry" method. This means thoroughly watering the soil and allowing it to dry out completely before watering again. When you do water, make sure to water the soil directly and avoid getting water on the leaves, as this can cause them to rot. 

The frequency of watering will depend on various factors such as the climate, temperature, and humidity levels. As a general rule, you can water your Graptopetalum paraguayense every 2-3 weeks during the growing season in the spring and summer, but only once a month during the dormant season in the fall and winter. 

Remember, it's always better to underwater than overwater your ghost plant succulent. Keep an eye on the soil moisture and adjust your watering schedule accordingly. And don't forget to provide good drainage for the plant by using a well-draining potting mix and a pot with drainage holes. 

Light Requirements 

When growing indoors ghost plant thrives in bright, indirect light. Find a spot near a sunny window where it can receive plenty of bright, filtered sunlight throughout the day. Avoid placing it in direct sunlight, as this can cause the leaves to burn or become discolored. 

If you're growing the ghost plant outdoors, it can tolerate more direct sunlight compared to indoor conditions. It thrives in full sun to partial shade, so find a spot in your garden or patio where it can receive at least 4-6 hours of direct sunlight each day. However, keep in mind that if you're transitioning the plant from indoor to outdoor conditions, it's best to acclimate it gradually to prevent sunburn or stress to the ghost succulent. 

Remember, the ghost plant Graptopetalum paraguayense is among the easiest succulents and can adapt to different light conditions. 

 If you notice the leaves stretching or becoming leggy, it may be an indication that the plant is not receiving enough light. On the other hand, if the leaves start to turn brown or develop sunburn spots, it may be getting too much direct sunlight.

Optimal Soil & Fertilizer Needs 

Like other succulents, the Ghost plants thrive in well-draining soil that allows excess water to flow out easily.  Planting them in ordinary soil will result in compacted roots, stunted growth, and most likely root rot. Instead, make or buy a well-draining potting mix, or ideally use our specialized succulent potting mix that contains 5 natural substrates and mycorrhizae to promote the development of a strong root system that helps your ghost plant succulent to thrive. 

Graptopetalum paraguayense Ghost plants are not heavy feeders and can do well without frequent fertilization. In fact, too much fertilizer can actually harm the succulent plant. It's best to use a balanced (5-10-5), water-soluble NPK fertilizer specifically designed for succulents. During the growing season, in the spring, you can fertilize your ghost plant once a year. Be sure to dilute the fertilizer to half or quarter strength, as succulents have lower nutrient requirements compared to other plants. 

Remember, it's important not to overdo it with fertilizer, as this can lead to nutrient burn and other issues. Always follow the instructions on the fertilizer packaging and err on the side of caution. With the right soil and proper fertilization, your ghost plant will be happy and healthy. 

Hardiness Zone & More 

When grown indoors, ghost plants prefer a warm temperature between 50°F to 65°F. It's important to avoid exposing them to extreme temperature fluctuations, as this can stress the plant. 

For outdoor cultivation, the ghost plant is generally hardy in USDA zones 7 to 11. These zones have milder winters and can provide the right conditions for your mother of pearl succulent to survive and thrive. 

In terms of humidity ghost plants are quite adaptable and can tolerate a range of humidity levels. They can handle both dry and moderately humid environments. However, it's important to avoid excessive moisture, as this can lead to rot or fungal issues. Good air circulation is also beneficial for the mother-of-pearl plant's overall health. 

Final Thoughts 

Overall, the ghost plant (Graptopetalum paraguayense) is a captivating succulent with its pale, ghostly leaves and delicate flowers. This low-maintenance houseplant features rosette-shaped leaves covered in a powdery substance called farina, giving it a unique appearance. With its compact size and easy propagation through leaf cuttings or offsets, the ghost plant is a great choice for both beginners and experienced plant enthusiasts. Just provide it with plenty of sunlight, well-draining soil, and occasional watering, and it will thrive as a beautiful addition to your succulent collection. As a result, succulents like ghost plants are frequently planted in containers, both indoors and outdoors, or in rock gardens.  

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Julie S.
Fort Morgan, US
★★★★★ 5
5 Stars – A Must-Read for Anyone Interested in Creativity!
Format: Paperback
Creativity: The Psychology of Discovery and Invention* by Mihaly Csikszentmihalyi is a brilliant exploration of the inner workings of creativity and the human mind. Whether you’re an artist, entrepreneur, or simply someone interested in understanding how creative breakthroughs happen, this book provides a fascinating blend of psychology, real-world examples, and deep insights. What sets this book apart is its comprehensive approach to creativity, going beyond the idea of it being a mysterious or innate trait. Csikszentmihalyi breaks down the creative process into digestible parts, showing how environment, discipline, curiosity, and flow all play a crucial role in fostering creative discovery. The interviews with a wide variety of highly creative people—including scientists, artists, and business leaders—add incredible depth and context to his theories. One of my favorite takeaways is how Csikszentmihalyi emphasizes the balance between freedom and structure in creative work, and how finding the "flow" state can lead to moments of true innovation. The book not only helped me better understand my own creative process but also offered practical advice for cultivating creativity in everyday life. This is an insightful, inspiring read for anyone who wants to dive deeper into the psychology behind creative genius. Highly recommend!
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Reviewed in the United States on September 10, 2024
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M. Edwards
Cuba, US
★★★★★ 4
Personal Creativity does not equal Domain Transformation
This was a good if not a great book. Its greatest strength lies in the thesis introduced early on and supported throughout that the kind of creativity that leaves a trace in the cultural matrix rests not in the personal creativity of the individual, but in what Csikszentmihalyi tags the "systems approach " to creativity. To have any effect, a creative idea must be couched in terms that are understandable to others, pass muster with the experts in the field (i.e. the gatekeepers to the domain), and be included within the cultural domain (the set of symbolic rules or procedures) to which it belongs. In this systems view, the definition of a creative person is someone whose thoughts or actions change a domain or establish a new domain (pp. 27-28). This is no easy task, especially since he or she needs to learn the existing domain or domains first, and almost always necessitates being in the right place at the right time (e.g. studying quantum physics at the beginning of the 20th century or women seeking academic opportunities when WWII broke out). Having established this in the first 30 pages, if you didn't read the remaining 350 you wouldn't miss much. But I still enjoyed reading the stories and thoughts of selected individuals whom the author deemed as "creative" according to the definition above (However, I disagreed with the selection of a few of these and would have chosen at least one more person of faith in addition to the Quaker who was briefly highlighted. Also on the issue of faith, I found the author's grouping on page 371 of studying the bible with addictive behaviors such as cruising the internet and betting on horse races to be rather laughable!). Some additional personal nuggets I gleaned from this book include the following: 1. Those who persevere and succeed must be creative not only in their manipulation of symbols but maybe even more in shaping a career and a future for themselves that will enable them to survive while continuing to explore the strange universe in which they live (p. 199). 2. When seeking to allow your mind to make new connections in a beautiful setting, just sitting and watching is fine, but taking a leisurely walk seems to be even better. The shaping of one's personal space is also important. The Greek philosophers settled on the peripatetic method, preferring to discuss ideas walking up and down in the courtyards of the academy. When we participate in this kind of "semiautomatic activity" that uses a certain amount of attention, we allow the rest of it to be free to make connections among ideas, often from different domains, well below the threshold of conscious intentionality. "Devoting full attention to a problem is not the best recipe for having creative thoughts. "(p. 138) 3. Both creativity and innovation on the one hand and conservation and traditionalism on the other are both equally important. "Neither uncritical acceptance nor wholesale dismissal of human creativity will lead us far. " (p. 322) The final section deals with how to enhance personal creativity. Some of these ideas were helpful (e.g. to seek to be surprised and to seek to surprise another person at least once every day, to seek to look at problems from multiple perspectives instead of assuming you see the issue clearly from one perspective, etc.) but others just seem to be taking up space on the page. I'm afraid the phraseology of how to use psychic energy more effectively on page 356 and a few other places lost my interest almost completely.
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Reviewed in the United States on November 15, 2010
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pepe
Belleville, US
★★★★★ 5
interesting analysis of what 'being creative' really means
This easy-to-read absorbing book is based on lengthy interviews with 91 creative individuals ranging from Nobel prize winners to artists to CEOs. Csikszentmihalyi starts by debunking the myth of 'the lone genius having a brilliant idea as if by magic' and defines three necessary ingredients for creativity ('with a capital "C"') - domain, field, and individual. Creativity must take place within a recognised domain (such as physics, painting and so forth); be recognised by experts in that domain (the field, although this may not happen in the individual's lifetime, eg, Van Gogh); and of course come from an individual, although he also adds the painstaking work that precedes and insight, the reality that all creativity builds on what has gone before, and the social elements of the creative process. The book also offers supporting evidence from the lives of the 91 interviewed, which also provides interesting insights into their lives. In many ways, this book is a biography of the creative individual. Also contains a chapter with quite practical guidance on how to live more creatively. Prescient advice for a book published in 1996 given the increasing profile creativity is getting in business and public life. HIghly recommended, one of the most interesting learning experiences i have had in a long while!
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Reviewed in the United States on February 5, 2013
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Charles H. Hooker Jr.
Waukegan, US
★★★★★ 5
Very enlightening for those who truly appreciate creativity more than cleverness!
Format: Paperback
I love how the author almost redefines creativity .and sheds new light (for me, at least!)on what what real-for-true creativity is and how it benefits individuals and society. It's far more than simply brightening up a room with new wallpaper and curtains -- it describes how genuine creativity requires a thorough working knowledge of the fundamentals of any given field before one can truly create something new or better, and it reveals how those of us who aren't capable of creating something ourselves can yet be part of the process by demonstrating appreciation and support for those who create, whether as sponsors, patrons, or even just ardent fans!
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Reviewed in the United States on July 4, 2023
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Donald Walker
Port Orchard, US
★★★★★ 3
instructive but limited
The testimonies of creative people that give this book its flesh and blood provide fascinating examples of creative people at work. That said, if a journalist had written the book, it would be more readable, and I don't think any less of an intellectual contribution. Moreover, the definition of creativity is elitist and stunts the topic (as observed by other reviewers): "Creativity is any act, idea, or product that changes an existing domain, or that transforms an existing domain into a new one. And the definition of a creative person is: someone whose thoughts or actions change a domain, or establish a new domain. It is important to remember, however, that a domain cannot be changed without the explicit or implicit consent of a field responsible for it." Given the people interviewed, much more needs to be said about the function of social institutions in promoting creativity. Many of the accomplishments lauded in this book would never have happened without grant-making agencies (e.g., NSF, NIH, HHMI) or non-profit employers like research universities and hospitals. To offer just one obvious example of the difference made by one's institutional context, the author had advanced students to help him do his research for this book. The elitism of the definition is even clearer in the role that marketplace plays as a judge of creativity. None of us buys books from amazon.com because some official group validated amazon.com as a good idea. We didn't wait for computer programers to affirm and certify it. Amazon.com is not deemed successful because it impressed its peers. It is successful because millions of us purchase goods through it. Similarly, auto-executives did not make the minivan a successful idea, millions of shoppers did. (Obviously I don't think the marketplace fits into the author's definition of creativity. If 300 million American consumers comprise a domain with 300 million judges, then the word no longer has any useful meaning.) The definition also precludes that countless ephemeral acts of creativity that take place daily. I think instantly of two women I have worked with who were great at holidays. Their clever costumes or decorations brightened my day, adding a little element of surprise and delight. Their acts of creativity don't meet the definitions of this book. The way that creativity is defined in this book is simply a filtering mechanism by which the author selected the people he would interview. It is not a definition of creativity. It is only a description of a subsection of creativity, the kind where institutions provide paychecks to highly practiced individuals to work hard at what they love. I also found little new to take away and apply to my own social existence inside the organization where I work. Perhaps I can summarize my dissatisfaction by observing that the subtitle sets out an agenda for the psychology of creativity, but the definitional filter is intrinsically social. This disconnection sets the book up to fail. So, count this as a negative review, yes, but I did enjoy reading the testimonies of the people interviewed, and the author adds some value in the generalizations he draws. Still, much, much more could have been said.
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Reviewed in the United States on April 30, 2012

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