The magazine’s design team worked closely with the print finisher to create a product that was "iconic" for its bicentenary in a collaboration that is rare for Celloglas, which traditionally works directly with printers.

Computer Arts sent over a number of separate PDF designs detailing the many different finishes to be applied to the cover, including a 5th colour, solid and textured black foil, gold foil, embossing and spot-UV.

Celloglas applied the textured black foil in one pass, followed by the gold foil on a Johannisberg cylinder die-cutter. The gold stamp was then embossed to create a "seal of approval" effect using a Sanwa machine. Finally, a Trumex screen printer applied the spot UV varnish.

The original design saw solid black foil set in certain areas but Celloglas set up the SBL flatbed in its Reading plant to apply a lighter texture, creating grainy numerals with differing texture, which would become a feature of the final cover.

Computer Arts designer Becca Allen said: "We weren’t aware that we could have texture but Celloglas suggested it for the black foil pattern and we liked it. It was more raised against the white background, which had been a risk."

Celloglas has been able to give more input to the design of the products through working directly with the art team, offering finishes the client had not considered.

Computer Arts editor Rob Carney said: "The Celloglas team was very helpful in helping us determine what we could do. The gold 'seal' idea came out of our original meeting with Celloglas. I'm particularly pleased with the black textured foil.

"I'm really pleased with the final cover – particularly the gold foil and embossing and we've had some great feedback from readers."

Celloglas sales director Steve Middleton added: "It was fantastic to work so closely with Computer Arts magazine on this cover, their creative ideas for finishes were really flowing and the final result is stunning."