The fixed cost nobody sees
1. Plates and dies. Every finish needs a tool cut from your artwork — a polymer plate for letterpress, a metal die for foil stamping and debossing, a cutting die for shaped work. This is identical whether you then print 100 pieces or 100,000.
2. Material purchase. Paper is bought from the mill in reams, not sheets. Below a certain run, most of the ream is waste, and the waste is priced in.
3. Make-ready. The first 30 to 100 sheets through the press are used to get colour, pressure and registration right. They are thrown away. That cost per piece is brutal at 100 units and invisible at 5,000.
4. Machine time to change over. Washing up, loading stock, setting the feeder. Roughly the same two hours whatever the quantity.

Why the unit price falls so steeply

Spec choices that move the minimum
Number of finishes. One finish, one setup. Letterpress plus foil plus edge gilding is three separate passes and three lots of make-ready — this is the single biggest driver of a high minimum.
Number of colours. Each colour is another pass in letterpress or another plate in offset.
Shapes. A rectangle nests efficiently on a sheet; a rose shape wastes more paper per piece, which pushes the effective minimum up. Our die-cut shaped coasters are more economical at higher quantities for exactly this reason.
Stock. Standard weights are bought routinely; an unusual textured sheet may have a mill minimum of its own.

How we keep the minimum low

A sensible way to use low MOQ
✅ Test before committing. Order the minimum, put it in front of real customers, then reorder the winner.
✅ Split by variant, not by SKU. Same artwork, three colourways, one print run — far cheaper than three separate setups.
✅ Ask for the price curve. Two extra quantity tiers cost you one email and tell you exactly when the unit price stops falling.
✅ Reorder while the die is young. Dies and plates do not last forever; keeping the same design saves real money.
