शैडोइंग अभ्यास: 8 Designs That Inspired i-D Magazine's Editor in Chief | Source Material - वीडियो के साथ अंग्रेजी बोलना सीखें

Hi, I'm Tom Betridge and this... is my source material.

Okay, so your producers were like, hey, are there any magazines we can get you?

I was like, I'd really like the first issue of Joe's Magazine.

Which was this magazine, Joe McKenna, who's one of the most legendary stylists in history made.

And it was unbound, so this is just folded paper.

And the cover's this amazing painting of a sort of renaissance woman smoking a cigarette, I guess.

It's so fashion and it's so chic.

This kind of text layout I think is incredible.

You know, Marc Jacobs in conversation with Polly Mellon, Carleen Cerf.

I don't know, I think Joe's is an amazing example of how a magazine can really be almost a way of thinking out loud.

Colors Magazine was funded by United Colors of Benetton.

Technically it was kind of like a corporate branding project.

And it was created by Olivero Toscani, who is like a creative director who kind of for me

is the ultimate blueprint of like image making in the modern age.

And I thought Colors was a really incredible magazine because it almost sought to like document the world.

This tension between an image and then when you put a text on top of it, you make it something totally different.

And that's really like the core principle of magazine making.

National Geographic went to art school and was on acid.

This is a magazine, they were handing these out at this retrospective exhibition they did for Demna at the Blenciaga HQ right before he left there.

It was such a perfect expression of his thesis.

The magazine takes after the glossy People magazine kind of printing,

and even the graphic design very much refers to that kind of mass market thing.

But then inside of it you have like this really thoughtful exhibition catalogue.

Actually kind of rigid and like very Swiss looking in a lot of ways.

They had a stack of them there and I was just like...

This is like...

O3 2 C issue 33, 2017.

Frank Ocean shot by my friend Petra Collins, styled by my friend Mel Ottenberg, who was the fashion director at the time.

I just really love the cover story of this magazine, because it kind of encapsulates this sort of teenage wasteland feeling.

Frank has become such a mythical figure since then.

It's one of those things that I feel like really ages, interestingly, with time.

I also wanted to do an unboxing.

I was in Paris last week.

My friends who make this magazine called All In were launching the new issue that they made, and they also have an incredible fashion brand called August Barron.

And it was funny because when I was teaching at Central St. Martin's earlier this year, all the students, when I asked them what their favorite magazine was, they all said All In Magazine.

It's such an obscure, kind of like niche publication.

Something that really resonated with the students was this kind of like material quality to it.

It comes in this box, there's like confetti in it.

When you think about, you know, people's fatigue with the digital world, print is very much a way to kind of like counter that.

I like to think about print in the most tactile terms possible.

Obviously, they have a lot of freedom, being kind of like a boutique publication to do crazy printing techniques and stuff.

It's so fun kind of parsing through this imagery

and having to go through it in this funny way because it's not bound and stuff.

It's just a really great expression of what I think the power of magazines is today.

So this was the first issue of High Snobody magazine when I was the editor-in-chief there.

And like, I was obsessed with this idea of of having a bunch of little Migos all over the cover.

Kind of reminded me of Richard Scarry.

There's this genre called Vimmel Builder, which are images that are really ornate and have lots of detail.

Hieronymus Bosch or Where's Waldo are both Vimmel Builder.

Magazines are usually about sexy face, close-up, and soft focus or whatever, but I like the idea of having Vimmel Builder of Migos on the cover.

John and I really wanted to make a magazine that looks like a fashion magazine

and like play off the tropes of 90s GQ.

I actually have pages that have product recommendations.

16 Sandals is like, I'm like, that still kills me.

Or like, Damn Shorty for like our short shorts thing.

This is my first issue as editor-in-chief of ID.

We spent a lot of time in the archive, you know, in the early decades, 80s, 90s especially, they would just find cool people

that they met going out or whatever and they would just put them on the cover, turn them into icons.

I kind of wanted to do like the 2025 version of that.

So we did a nationwide casting call with Jen Vendetti, who's a really amazing casting director.

And Jen helped us find Enza, who was our unknown cover star.

So she was a senior in high school in suburban Cleveland, Ohio.

Was like the star actor at her school plays and aspiring model, LARPer.

We went to visit her for three days, me and Aiden Zemiri, who shot the story.

And we spent just like the first day just like hanging out

and seeing her world and where she goes with her friends.

On the shoot days, we shot her in her environment, in her room, in her living room.

This picture was like at the drama club that she's in in school.

So this was like a really special magazine for me

because it was sort of like about this idea of like the reference system.

I got really down a rabbit hole in like the ID history

and like so much of the stuff in here is a reflection of that nerd out session.

This is the second issue I did of ID.

I was really into the idea of ID being a youth culture magazine, but I was like, what's more youth culture than a baby? baby.

We had just discovered that 2025 was like the first year where like people born are gen beta.

So we wanted to kind of have like the first like gen beta magazine cover.

We did this photo shoot with this beautiful baby on the cover winking, which was really great.

What we did was we actually, in lieu of a profile, we asked like a lot of important artists and politicians

and figures in the world to give advice to someone born in 2025.

It's funny because we actually design on Figma.

You know, we kind of create sort of formulas and we kind of see how things fit in those formulas, but then we break the formulas.

You know, because graphic design can be very systematic.

I think something

that was a real innovation for ID was it used graphic design in this very expressive way

and this very DIY kind of way.

Collaborative tools where you can just drag and drop stuff

and multiple people can feast on it at once is like a really fun way to design a magazine

and like not the way I came up designing magazines.

शैडोइंग तकनीक क्या है?

शैडोइंग (Shadowing) एक विज्ञान-समर्थित भाषा सीखने की तकनीक है जो मूल रूप से पेशेवर दुभाषिया प्रशिक्षण के लिए विकसित की गई थी। विधि सरल लेकिन शक्तिशाली है: आप मूल अंग्रेज़ी ऑडियो सुनते हैं और तुरंत इसे ज़ोर से दोहराते हैं — जैसे वक्ता की छाया 1-2 सेकंड की देरी से। शोध से पता चलता है कि यह उच्चारण सटीकता, स्वर, लय, जुड़ी हुई ध्वनियाँ, सुनने की समझ और बोलने की प्रवाहशीलता में काफ़ी सुधार करता है।

शैडोइंग अभ्यास: 8 Designs That Inspired i-D Magazine's Editor in Chief | Source Material - वीडियो के साथ अंग्रेजी बोलना सीखें

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