SKU: 78302283739
low grow grass seed mix

low grow grass seed mix California Native No Mow Grass Seed Mixture

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Description

low grow grass seed mix California Native No Mow Grass Seed MixtureNotice: Pictures are general representations of seed mixtures. Actual results may vary due to seasonal and site conditions and cultural practices. DESCRIPTION California Native No Mow Grass Seed Mixture A mixture of California native grasses that establish quickly and exhibit a fine texture for an exceptional meadow appearance. It can be used in a variety of landscape situations as a low water use alternative to other turf and ground cover areas. It

Notice: Pictures are general representations of seed mixtures.  Actual results may vary due to seasonal and site conditions and cultural practices.

DESCRIPTION

California Native No Mow Grass Seed Mixture
A mixture of California native grasses that establish quickly and exhibit a fine texture for an exceptional meadow appearance. It can be used in a variety of landscape situations as a low water use alternative to other turf and ground cover areas. It can be either mowed or left un-mowed. Grasses in this mixture are classified as “California Friendly” by California Water Agencies and recommended for use in landscapes as a low water user.

CHARACTERISTICS

Features

Benefits

All California native grasses

No non-native invasive species

All perennial grasses

Longer lived stand

Fine textured grasses

Meadow appearance

Excellent seedling vigor

Fast establishment

Extensive root system

Reduces soil erosion

Grows in sun and light shade

Multi use

 

USES
• Turfgrass • Golf Course Roughs • Roadsides • Slopes • Erosion Control • Commercial Sites • Medians • Parks

Specifications:  NATIVE NO MOW SEED MIXTURE

Molate Creeping Red Fescue (Festuca rubra ‘Molate’). Perennial, cool season, fine textured native bunch grass that also spreads by rhizomes. An attractive ornamental grass either mown or unmown. Popular for natural landscapes and low maintenance buffer areas.

Western Mokelumne Fescue (Festuca occidentalis ‘Mokelumne’). Selection of Western Fescue from California. A bunch grass that grows up to 24 inches high. In sun to part shade. Deer resistant.

Idaho Fescue (Festuca idahoensis). Perennial, cool season native bunch grass. Native to Western North America and common in California. Densely clumping, long lived perennial grass growing 12-24 inches high.

SEEDING RATES
Suggested seeding rate for new establishment is 1.5 pounds per 1,000 square feet or 70 pounds per acre. Lighter rates can be used for overseeding depending on the existing stand.

ESTABLISHMENT
Best times for seeding are September through April. Summer seeding can be achieved with supplemental irrigation.
Weed control prior to seeding with glyphosate is recommended.
Seed-to-soil contact is critical for success either by seed drilling, hydroseeding or hand seeding with mulching.
In the absence of natural rainfall, short, frequent applications of water are necessary for 4-6 weeks.

CULTURAL INFORMATION

Water Requirements
The native grasses in this mixture will withstand prolonged periods of drought. If some green vegetation is desired then supplemental summer irrigation is necessary. If no summer irrigation is provided the grasses will become a dormant golden color and green up in the fall with rainfall. It is recommended that supplemental irrigation is supplied through one summer season in order for the grasses to establish deep root systems.

Climate Conditions 
This seed mixture is suitable for foothill, valley and coastal regions of California.

Soil Conditions
This mixture performs best in clay or sandy soils with a pH range of 5.5 to 8.5.

Fertilization
Use of a starter fertilizer when seeding is highly recommended. While fertilizer on native grasses is not critical it is recommended to promote growth and increase establishment. Fertilize during periods of active growth in Spring and Fall with a balanced fertilizer. Avoid using products with a high nitrogen (N) content as such use increases water usage. Apply no more than 4 pounds of N per 1,000 square feet per year.

Mowing
It is not necessary to mow this mixture but it can be mowed if a neater look is desired. Mowing height should be no lower than 2 inches. Never mow more than 1/3 of the leaf blade on a mowing cycle.

CLICK HERE for instructions on planting and maintaining native grasses.

 

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SKU: 78302283739

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Marcella
Bozeman, US
★★★★★ 4
Good product.
Color: Caviar PDRN
Good Product.
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Reviewed in the United States on June 7, 2026
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Sarah Pettingill
Phoenix, US
★★★★★ 5
🫶🏻
Color: Caviar PDRN
I love these. I put these on every morning when I’m getting ready. Sometimes I’ll even leave them on under sunglasses if I’m just doing school drop off 😆 They don’t slide off, they really help brighten and de-puff my under eyes, they have a cooling effect, unscented, and there’s no irritation. They also help concealer go on super smooth. I recommend!
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Reviewed in the United States on May 18, 2026
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Jessica Martin
Birmingham, US
★★★★★ 5
super hydrating
Color: Caviar PDRN
I love the full face mask but this is nice for a more frequent refresh. They are super convenient and work really well.
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Reviewed in the United States on June 4, 2026
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Zachary Bednar
Whiting, US
★★★★★ 5
The Perpetual Joke
One of the best films I have ever seen is The Killing. It can boast a great many things. It can proudly say that it is the best heist film ever made and that it is the creme dela creme of film noir. Out of all the films in my top ten favorites, The Killing is easily the most watchable and purely entertaining. It doesn't try to be much more than a crime picture. A crime picture written by the legendary Jim Thompson of course. Thompson is one of the best American crime writers, well ever. And his work in The Killing is simply exemplary and total-classic Thompson. The film can also boast having a brilliant cast. Sterling Hayden, Elisha Cook Jr., and Marie Windsor soar, it can boast having possibly the strongest ensemble in all of the crime genre. It can boast having a pitch perfect tone and a distinctly unique and absorbing atmosphere. It can brag about the extraordinary tracking shots throughout or the lighting that startles and dazzles and vibes, melts. It can brag about being fun and devious and sly. It can brag about being unpredictable and clever. Smart. It can brag about being one the greatest films ever made. It's honestly that perfect. And did I mention that some guy named Stanley Kubrick directed the thing? The Killing is a film about a group of men who plan to knock off a racetrack, those who seek to thwart them, and how it all plays out. The characters are unforgettable. The Killing has in it's repertoire more than just a few of my favorite noir characters. What makes the players so special is that all of them are so sympathetic. Really. My heart goes out to each and every one of them, understanding and empathy seldom hits this hard within the parameters of the heist and noir genre. But here, the damn thing works every time. I've seen the film several times and I still physically act as if every time is my first. I cover my hands over my mouth in astonishment, I bite my nails in anticipation, I drum on my knees with rhythmic excitement, I laugh out loud, and I cheer relentlessly for everyone involved. I imagine myself as a member of the outfit. I have so much fun with this twisted picture that it's ridiculous. Okay. Lucien Ballard. Dick Tower. Earl Snyder. The men who walk the walk. One of the most dazzling things about The Killing is it's technical brilliance. The thing looks absolutely gorgeous and twisted and just right. Smokey and sexy and rough. There are shots in this film that your eyes can more than feast on, they can devour them. There are sequences of sight and sound and light that will make you fall in love with noir all over again. If that's not enough, Jim Thompson's dialogue will make your head spin it's so good. You'll find yourself quoting it to yourself without warrant or cause. The beats and the meter and time and scale of Thompson's writing will send you for a ride. Great dialogue and a truly complex and understated plot, the inner workings of which are not only of the heart-pounding variety but the very fabric that it is woven into is absolutely compelling. There is a subtext here as well. I don't think Kubrick ever really made a film just for the sake of doing so, he always had something deeper to communicate on top of it. The Killing communicates within the subtext the idea of the perpetual joke. Borderline Absurdism. Characters die literally howling about not being able to understand their own private punchline. Robberies take place by men in the guise of clowns. Think Hayden Sterling as Pagliacci The Clown. The Killing feels like a crime film written by Jim Thompson, directed by Stanley Kubrick, and dreamt up by Albert Camus. The idea that everything is absurd, that life is a frenzied haywire with a morbid sense of humor. I think Sterling's Johnny finally understood the great joke of life at the end of it all. And its pointless brand of mischief. It is fascinating seeing the great Stanley Kubrick, before he really was the GREAT Stanley Kubrick, working within the framework of the crime genre. Kubrick excels here, even if he was limited by boundaries of style and time. He is a filmmaker that mastered every genre he dabbled in. He is not only one of the greatest directors that ever lived but he is my personal favorite one. His films have a crazy power, an uncanny transcendental quality to them. The Killing possesses every bit as much magic that his post 2001 films do. The Killing has a little bit more than that as well. It has an incredible watchability factor. I could watch The Killing once a week for the rest of my life and still not get tired of it. I think I'll do just that. Why not? You only live once, right?
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Reviewed in the United States on July 17, 2014
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Verified Purchase
Terry Seale
Pawtucket, US
★★★★★ 5
Worth viewing and studying.
First major Kubrick feature film noir. Nothing about Sterling Hayden's Communism here. Cool caper with a classic cast. The flick provides an impactful reminder to never skimp on low quality luggage, to use a double lock, and to take time whenever possible to bundle your cash with rubber bands. "While playing chess in Washington Square, Kubrick met producer James B. Harris, who considered Kubrick to be "the most intelligent, most creative person I have ever come in contact with", and the two formed the Harris-Kubrick Pictures Corporation in 1955.[52] Harris purchased the rights to Lionel White's novel Clean Break for $10,000,[g] and upon Kubrick's suggestion, they hired film noir novelist Jim Thompson to write the script for the film—which later became The Killing (1956)—about a meticulously planned racetrack robbery gone wrong. The film starred Sterling Hayden, with whom Kubrick had been impressed in The Asphalt Jungle (1950).[54] Kubrick and Harris moved to Los Angeles from New York and signed with the Jaffe Agency to shoot the picture, which became Kubrick's first full-length feature film shot with a professional cast and crew. The Union in Hollywood stated that Kubrick would not be permitted to be both the director and the cinematographer of the movie, so veteran cinematographer Lucien Ballard was hired for the shooting. Kubrick agreed to waive his fee for the production, which was shot in just 24 days on a budget of $330,000.[55] He clashed with Ballard during the shooting, and on one occasion Kubrick threatened to fire Ballard following a camera dispute, despite being only 27 years old at the time and 20 years Ballard's junior.[54] Hayden recalled that Kubrick was "cold and detached. Very mechanical, always confident. I've worked with few directors who are that good".[56] The Killing failed to secure a proper release across the United States; the film made little money, and was promoted only at the last minute, as a second feature to the Western movie Bandido! (1956). Several contemporary critics lauded the film, however, with a reviewer for TIME comparing its camerawork to that of Orson Welles.[57] Today, critics generally consider The Killing to be among the best films of Kubrick's early career; its nonlinear narrative and clinical execution also had a major influence on later directors of crime films, including Quentin Tarantino. Dore Schary of Metro-Goldwyn-Mayer was highly impressed as well, and offered Kubrick and Harris $75,000 to write, direct, and produce a film, which ultimately became Paths of Glory (1957)." [Wikipedia]
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Reviewed in the United States on February 21, 2016

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