As with other artist's methods, printmaking techniqes change and develop to meet the demands and requirements of changing art styles and concepts. While traditional graphic processes are still in wide use, and traditional standards of excellence still prevail in the graphic arts to a great extent, there are also many areas of the field where completely new ideas have taken over. For the most part, the basic printmaking processes are used but they are applied in different ways. In the fine arts, graphic designates all processes for the production of multiple-proof pictures on paper on handmade basis, the work being done either wholly or in most part by the original artist, and editions limited. Prints are made either in black and white or in multiple color impressions and the individual copies or proofs may be signed and numbered by the artist in pencil on the lower margins. Making an impression is called, "pulling a proof". The term "graphic arts" excludes all of mechanically reproduced works photographed or redrawn on plates; all processes in which the artist did not participate to his or her fullest capacity are reproductions. (Hence, to today standards, plates, color separation, printing is done by a qualified printmaker. Usually under the supervision and eye of perfection, of the artist.) The standard name for an artist's proof is "original print". In recent years the commercial printing trades have tended to use the term "graphic arts" to cover the entire field of printing and lithography, but from the fine-arts standpoint it still means "techniques used directly by creative artist as distinguished from the common mechanical processes". Sometimes the term "graphic arts" is abbreviated to "graphics". (Hence, the term "graphics" on the internet.) Japanese prints for instance, have been condemned as work of art by certain connoisseurs and artists, especially by the Japanese, not only because they were originally works on popular subjects for distribution to the public, as distinguished from the more esoteric and precious paintings, but because their production was several steps removed from the work of the original artists and depended upon the cooperation of expert engravers and printers; they are now, however, as thoroughly accepted as the other forms of Japanese art. The major traditional graphic-arts processes of long standing and continued popularity are: lithography, etching, drypoint, woodcutting, or wood engraving, aquatint, and soft-ground etching. Engraving on copper and steel, and mezzotint engraving are almost as obsolete in art as they are in commercial reproduction. They have their practitioners, and perhaps in recent years their number has been increasing, but these are usually workers in other techniques who employ metal-plate engravers occasionally.