SKU: 84006381748
do you need fertilizer for succulents

do you need fertilizer for succulents Liquid Fertilizer for Succulents and Cactus

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Description

do you need fertilizer for succulents Liquid Fertilizer for Succulents and CactusPrevent a Nutrient Drought with Liquid Succulent Fertilizer for Cactus for Succulents Cactus and succulents dont require much water, but that doesnt mean they dont need nutrients. Our Liquid Succulent Fertilizer is perfect for desert natives because you can incorporate it into your regular watering schedule, so you dont have to worry about overwatering your plants. You can use this fertilizer for any cactus or succulent, including snake plants,

Prevent a Nutrient Drought with Liquid Succulent Fertilizer for Cactus for Succulents

Cactus and succulents don’t require much water, but that doesn’t mean they don’t need nutrients. Our Liquid Succulent Fertilizer is perfect for desert natives because you can incorporate it into your regular watering schedule, so you don’t have to worry about overwatering your plants.

You can use this fertilizer for any cactus or succulent, including snake plants, prickly pear cactus, aloe vera, Hawthoria, hoyas, and African violets. 

This liquid fertilizer for succulents has nitrogen, phosphate, potassium, and other vital nutrients your plants need to develop a healthy root system and vibrant foliage colors. When your plants receive the proper nutrients, you’ll notice your slow growers perk up a bit. The Liquid Succulent Fertilizer ratio is 9-3-6.

Succulent Liquid fertilizer is more efficient than powders and granules because it mixes with water and can easily be absorbed by the roots. Your plants can quickly get the nutrients they need which is great if you’re treating nutrient-deprived plants that need their food now.

How to Fertilize Succulents with Liquid Fertilizer

To use this liquid fertilizer for cactus and succulents, mix one teaspoon of the fertilizer per one gallon of water. Give it a stir to mix thoroughly, and then apply it to your plants.

If you don’t use all the fertilizer mixture immediately, you can store it with a lid in a cool, dry place and save it for next time. It can store for up to six months, so one bottle of fertilizer is sure to last you for a while.

How Often to Fertilize Succulents with Liquid Fertilizer

Fertilize and water your plants only once per month at the same time. There’s no need to do each separately since the fertilizer mixes into the water.

Plants native to the desert, such as cactuses and succulents, require very little water since the plants adapted to store water in their foliage. It’s important that you don’t overwater your plants once you start fertilizing them, or you’ll quickly lead them to root rot.

Avoid Overwatering Your Desert Dwellers

It’s easy to overwater succulents and cactuses because they require much less water than other houseplants. Here are a few tips to prevent root rot so your plants can stay happy.

Incorporate our fertilizer into your regular watering schedule. Once you water your plant with our fertilizer, you don’t have to water it again with plain water. Your plant gets food and water in just one watering.

Allow the soil to dry out completely before you water it. We recommend watering once per month, but some plants may need water less often if the soil holds moisture well. Water deeply rather than shallow to encourage root growth and make sure that the plant will receive all the nutrients it needs from the fertilizer. Succulents have shallow roots, so multiple shallow waterings each month puts your plant at risk of developing root rot quickly since the top of the soil is always wet.

Use well-draining soil to prevent root rot. Excess water needs to drain out of a drainage hole, and the soil shouldn’t hold onto extra moisture.

    Be sure to check out our Succulent Grow Guide for more information on planting and growing succulent plants.

    Don’t forget the Cactus and Succulent Potting Soil to pair with this, and check out the Pellet Succulent Fertilizer if you prefer a pellet based formula.

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    SKU: 84006381748

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    Amanda Becker
    Chelsea, US
    ★★★★★ 5
    Best wrap mask!
    Color: Lifting (Jericho Rose)
    Just the best wrap mask!! A lot of peptides that make my skin soft and moisturizing. Very effective in only 20min use!
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    Reviewed in the United States on May 20, 2026
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    Amanda Boyd
    Cuba, US
    ★★★★★ 5
    Great face mask
    Color: Lifting (Jericho Rose)
    Love this mask. I have really sensitive skin and this mask doesn't irritate my skin at all. It absorbs nicely and leaves my skin feeling moisturized and glowing. Great value for the price!
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    Reviewed in the United States on April 21, 2026
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    Tammy Marshall
    Waukegan, US
    ★★★★★ 3
    Full Moisturization of the face is lacking
    Color: Lifting (Jericho Rose)
    I would give it a 5 based on the appearance after the mask is removed your skin is glassy but the moisture level is lacking. It leaves behind an oily residue and my face didn’t feel hydrated. The search continues.
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    Reviewed in the United States on March 25, 2026
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    John P. Jones III
    Cuba, US
    ★★★★★ 5
    “The fragments of a life”…
    A formidable movie, in the stricter sense of the word. In a looser sense, it has helped shape the way that I’ve seen the world, ‘lo these past six decades. I saw this movie when it first came out, in 1963, at one of my favorite art theaters in Pittsburgh. Like most of us at the time, we’d only viewed rather straightforward movies of “good and evil,” Westerners, and the like. Predictable endings. The director of “8 ½,” Federico Fellini, offered something radically different, a foreshadowing of the stream-of-consciousness technique in literature, how the fragments of one’s life get all jumbled up in the brain. And he provided some takeaways that have long been with me. I was 16 at the time and took a date who was 15. In re-watching it now, if I thought it somewhat baffling at 16, I wonder what my date thought about the portrayal of the women in the movie, who are “fragments” in the life of the movie director, Guido Anselmi, excellently played by Marcello Mastroianni. There is his wife, Luisa, wonderfully played by Anouk Aimée, who was the motive force behind the re-watching of it now. There is the “virginal” Claudia Cardinale, usually in white (I had not realized that she was originally Tunisian). Sandra Milo plays Guido’s flighty bimbo of a mistress. And so many others: The airline stewardess; the caring mom who wraps the infant Guido in a blanket; the first stripper; the insightful and nagging friend of his wife… “Upstairs when you are 40.” That was one of the big takeaways. Anselmi is having this male fantasy about his “harem,” all those fragmented women who are there to serve him and do so in complete harmony when he realizes that the “stripper” is now 40 and must go upstairs, the metaphor for being placed on the “discard pile” for being too old. He gets out his bull whip even, to drive her up the stairs. Even at 16, when 40 is more than twice your life away, it did seem a bit harsh, particularly when the same rule does not apply to the guy with the bull whip. It was also my first viewing of the prototype of those pompous pedantic critics of movies or literature who toss around expressions like “impoverished poetic imagination,” “overabundant symbols,” and, of course, “self-indulgent.” I was in parochial high school at the time, so the scenes in which the priests were chasing down the young student Guido in order to shame and humiliate him because he found sexual imagery to be of interest, imagine that, strongly resonated. It was also the era that the Catholic Church published “The Index of Forbidden Books,” (which now seems to have been taken over by the woke crowd of today), and thus the scene in which Anselmi has to pay homage to the Cardinal also resonated. Anouk Aimée is absolutely mesmerizing. She has been a “fragment” of my own life, ever since I viewed “A Man and a Woman” in the ’60’s. Again, she played opposite the equally formidable Jean-Louis Trintignant, of “Z,” “Three Colors, Red,” and so much else, fame. Far more relevantly, the two of them recently played in “The Best Years of Our Lives,” again directed by Claude Lelouch. Aimée is now a young 90. In her role as Anselmi’s wife, Luisa, she wore those glasses that connotated a greater thoughtfulness than him. I searched that ever-so-youthful face watching for the subtle expressions of later movies. It struck to the core. Luisa is utterly fed up with Guido’s philandering and constant lies. And Guido is suffering from “director’s block” in trying to finish his movie, with what sort of message? Luisa fires off THE classic line that I have long remembered: “But what can you say to strangers when you can’t tell the truth to the one closest to you…”. The only problem is that I’ve felt that line was said in Ingmar Bergman’s “Scenes from a Marriage.” And maybe that line was ALSO said in Bergman’s movie, which means one more movie I need to watch to find out. As I said earlier, things can tend to get jumbled up in the brain, even more so as one ages. Fellini would understand, maybe Aimée would also. 5-stars, plus for Fellini’s classic, formidable film.
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    Reviewed in the United States on March 14, 2023
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    Stephen McLeod
    Omaha, US
    ★★★★★ 5
    One of the greatest in SPECTACULAR DVD package
    This new Criterion Collection edition of *8 1/2* is one of the best DVD "special edition" sets I've come across. The Movie: Fellini's breakthrough film is a movie about itself. It is archetypal in the Fellini canon because it both settles old scores and announces a new cinema. The film's hero is an Italian filmaker (Mastroianni as "Guido" a quasi-alter ego for the director) who has just had his first major hit (=La Dolce Vita). He is not resting on his laurels, however. He is confronted with the necessity of the next movie. This necessity is both personal to the director and apparently contractual: the producer is forever hovering... To Guido, it is an inner necessity, an unrest, a creative suffocation, objectified in the opening sequence of the movie where Guido is seen/not seen by the camera, trapped inside a tiny car that is itself trapped in a traffic jam that stretches endlessly beyond available light as the car fills with toxic gas. We see the as yet unidentified hero in silhouette from behind. We see his hands and feet from outside the car, through the window as he desparately tries to escape. Then, he mysteriously escapes through the car's roof like a new bird escaping its shell and is carried off into the clouds, etc. The trouble is, this is a wish fulfillment dream. In "real" life, Guido is about to make a movie, and he has no idea what it's going to be about, or what to do with all the actors and extras, and the giant launching pad for some kind of space-ship that is the only thing even close to a concrete idea for the projected picture. The film is not, however, a perfect autobiographical fit. For one thing, Fellini gets to finish his movie and Guido, evidently, does not. But, that said, the movie is a virtual mirror of itself, which was a very hard thing to pull off in 1962, before the concept of "virtual" was annexed by the codifiers of computer jargon, and *8 1/2* is nothing if not a virtuoso performance. Fellini's breakthrough is the film we watch. But in the film, the hero finds the resolution to his anguish, not in finding the project - that is, in making what would have been the film-about-itself within the film-about-itself within the film-about-itself that we are, finally, watching - but in letting go of the project, in surrendering to the impossibility of finding it or making it. Precisely *on the other side of his own fantasy-suicide*, at the moment when he apparently gives in to despair, he discovers the circle of life and becomes able to join into the procession of lives into which his own life is finally intertwined. So, this is an essential film. And it is a film so rich in texture that a person could watch the movie a hundred times and find new things to wonder at, and discover new connections between the One and the Many - Fellini's personal/existential problem. The DVD: First disc contains a sparkling transfer of the movie that restores a luster to the angular lights and shadows in Fellini's final black & white movie. Audio commentary by a couple of scholars and Fellini's former close accomplice Gideon Bachman. Second disc contains Fellini's famous "Director's Notebook" of 1968(-9), an hour-long movie that was originally made for television, as well as another documentary about composer Nino Rota, and various interviews, including one with the ever-fiesty Lina Wertmueller who was Fellini's Asst. Director on *8 1/2*. The package also comes with a really interesting little booklet with lots of information and a thoughtful mini-essay. Overall a great package that I'll not regret buying.
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    Reviewed in the United States on January 5, 2002

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