Prática de Shadowing: 8 Designs That Inspired i-D Magazine's Editor in Chief | Source Material - Aprenda a falar inglês com vídeo
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Hi, I'm Tom Betridge and this... is my source material.
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Okay, so your producers were like, hey, are there any magazines we can get you?
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I was like, I'd really like the first issue of Joe's Magazine.
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Which was this magazine, Joe McKenna, who's one of the most legendary stylists in history made.
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And it was unbound, so this is just folded paper.
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And the cover's this amazing painting of a sort of renaissance woman smoking a cigarette, I guess.
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It's so fashion and it's so chic.
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This kind of text layout I think is incredible.
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You know, Marc Jacobs in conversation with Polly Mellon, Carleen Cerf.
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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.
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Colors Magazine was funded by United Colors of Benetton.
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Technically it was kind of like a corporate branding project.
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And it was created by Olivero Toscani, who is like a creative director who kind of for me
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is the ultimate blueprint of like image making in the modern age.
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And I thought Colors was a really incredible magazine because it almost sought to like document the world.
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This tension between an image and then when you put a text on top of it, you make it something totally different.
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And that's really like the core principle of magazine making.
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National Geographic went to art school and was on acid.
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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.
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It was such a perfect expression of his thesis.
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The magazine takes after the glossy People magazine kind of printing,
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and even the graphic design very much refers to that kind of mass market thing.
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But then inside of it you have like this really thoughtful exhibition catalogue.
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Actually kind of rigid and like very Swiss looking in a lot of ways.
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They had a stack of them there and I was just like...
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This is like...
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O3 2 C issue 33, 2017.
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Frank Ocean shot by my friend Petra Collins, styled by my friend Mel Ottenberg, who was the fashion director at the time.
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I just really love the cover story of this magazine, because it kind of encapsulates this sort of teenage wasteland feeling.
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Frank has become such a mythical figure since then.
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It's one of those things that I feel like really ages, interestingly, with time.
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I also wanted to do an unboxing.
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I was in Paris last week.
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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.
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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.
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It's such an obscure, kind of like niche publication.
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Something that really resonated with the students was this kind of like material quality to it.
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It comes in this box, there's like confetti in it.
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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.
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I like to think about print in the most tactile terms possible.
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Obviously, they have a lot of freedom, being kind of like a boutique publication to do crazy printing techniques and stuff.
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It's so fun kind of parsing through this imagery
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and having to go through it in this funny way because it's not bound and stuff.
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It's just a really great expression of what I think the power of magazines is today.
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So this was the first issue of High Snobody magazine when I was the editor-in-chief there.
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And like, I was obsessed with this idea of of having a bunch of little Migos all over the cover.
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Kind of reminded me of Richard Scarry.
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There's this genre called Vimmel Builder, which are images that are really ornate and have lots of detail.
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Hieronymus Bosch or Where's Waldo are both Vimmel Builder.
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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.
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John and I really wanted to make a magazine that looks like a fashion magazine
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and like play off the tropes of 90s GQ.
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I actually have pages that have product recommendations.
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16 Sandals is like, I'm like, that still kills me.
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Or like, Damn Shorty for like our short shorts thing.
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This is my first issue as editor-in-chief of ID.
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We spent a lot of time in the archive, you know, in the early decades, 80s, 90s especially, they would just find cool people
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that they met going out or whatever and they would just put them on the cover, turn them into icons.
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I kind of wanted to do like the 2025 version of that.
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So we did a nationwide casting call with Jen Vendetti, who's a really amazing casting director.
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And Jen helped us find Enza, who was our unknown cover star.
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So she was a senior in high school in suburban Cleveland, Ohio.
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Was like the star actor at her school plays and aspiring model, LARPer.
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We went to visit her for three days, me and Aiden Zemiri, who shot the story.
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And we spent just like the first day just like hanging out
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and seeing her world and where she goes with her friends.
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On the shoot days, we shot her in her environment, in her room, in her living room.
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This picture was like at the drama club that she's in in school.
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So this was like a really special magazine for me
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because it was sort of like about this idea of like the reference system.
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I got really down a rabbit hole in like the ID history
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and like so much of the stuff in here is a reflection of that nerd out session.
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This is the second issue I did of ID.
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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.
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We had just discovered that 2025 was like the first year where like people born are gen beta.
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So we wanted to kind of have like the first like gen beta magazine cover.
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We did this photo shoot with this beautiful baby on the cover winking, which was really great.
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What we did was we actually, in lieu of a profile, we asked like a lot of important artists and politicians
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and figures in the world to give advice to someone born in 2025.
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It's funny because we actually design on Figma.
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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.
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You know, because graphic design can be very systematic.
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I think something
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that was a real innovation for ID was it used graphic design in this very expressive way
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and this very DIY kind of way.
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Collaborative tools where you can just drag and drop stuff
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and multiple people can feast on it at once is like a really fun way to design a magazine
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and like not the way I came up designing magazines.
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Vocabulário e dicas de fala para esta lição
Esta aula de conversação de nível B2 usa o vídeo “8 Designs That Inspired i-D Magazine's Editor in Chief”. As palavras que mais se repetem: magazine, cover, issue, design. Este vídeo tem 88 frases e 1236 palavras para praticar shadowing. A fala dura 6:50. O falante fala rápido, cerca de 181 palavras por minuto, então espere sons ligados e reduzidos. 83% das palavras estão entre as 3.000 mais comuns do inglês; vale a pena estudar o restante antes de começar.
Vocabulário principal deste vídeo
As 15 palavras mais avançadas do vídeo, com pronúncia e significado:
| Palavra | Pronúncia | Significado |
|---|---|---|
| aspire verbo | /əˈspaɪɚ/ | aspirar, almejar |
| blueprint substantivo | /ˈbluːˌpɹɪnt/ | cianotipo |
| confetti substantivo | /kənˈfɛ.ti/ | confete |
| encapsulate verbo | /ɪnˈkæps(j)ʊˌleɪt/ | encapsular, embrulhar |
| expressive adjetivo | /ɪkˈspɹɛsɪv/ | expressivo, significativo |
| glossy adjetivo | /ˈɡlɔsi/ | lustroso |
| mythical adjetivo | /ˈmɪθɪkəl/ | mítico |
| resonate verbo | /ˈɹɛz.əˌneɪt/ | ressoar |
| retrospective adjetivo | /ˌɹɛt.ɹə(ʊ)ˈspɛk.tɪv/ | retrospectivo, retrospetivo |
| sandal substantivo | /ˈsændəl/ | sandália, chinelo |
| tactile adjetivo | /ˈtæktaɪl/ | tátil |
| wasteland substantivo | /ˈweɪs(t)ˌlænd/ | deserto, terreno baldio |
| boutique substantivo | /buˈtik/ | boutique, butique |
| interestingly advérbio | interessantemente | |
| chic adjetivo | /ʃik/ | chique |
Phrasal verbs que você vai ouvir
| Palavra | Significado |
|---|---|
| go out verbo | sair |
Gramática neste vídeo
As estruturas que o falante mais usa, com as palavras exatas do vídeo:
| Estrutura | No vídeo |
|---|---|
| Voz passiva be + particípio passado — o foco está no que acontece, não em quem faz | is just folded · was funded · was created |
| Orações relativas who / which + oração — informação extra sobre uma pessoa ou coisa | friends who make · Builder, which are · winking, which was |
Pronúncia para ficar de olho
O falante usa 4 contrações e formas reduzidas, como I'm, don't, I'd. Diga-as na forma curta, do jeito que você ouve.
- Os sons de “th”: mythical /ˈmɪθɪkəl/, thoughtful /ˈθɔːtfəl/, thesis /ˈθisɪs/
- Os sons de “sh” e “zh”: chic /ʃik/, nationwide /ˌneɪ.ʃənˈwaɪd/, recommendation /ˌɹɛkəmɛnˈdeɪʃən/, politician /ˌpɑ.ləˈtɪʃ.ən/, reflection /ɹɪˈflɛkʃən/
- Palavras longas — acerte a sílaba tônica: encapsulate /ɪnˈkæps(j)ʊˌleɪt/, retrospective /ˌɹɛt.ɹə(ʊ)ˈspɛk.tɪv/, collaborative /kəˈlæb.ə.ɹə.tɪv/, systematic /ˌsɪs.tɪˈmæt.ɪk/, recommendation /ˌɹɛkəmɛnˈdeɪʃən/
Sons difíceis para falantes de português:
- Consoante final — sem acrescentar um “i” depois: blueprint /ˈbluːˌpɹɪnt/, encapsulate /ɪnˈkæps(j)ʊˌleɪt/, ornate /ɔɹˈneɪt/, resonate /ˈɹɛz.əˌneɪt/, stylist /ˈstaɪlɪst/
- /l/ final — a língua toca o céu da boca, não vira “u”: mythical /ˈmɪθɪkəl/, sandal /ˈsændəl/, tactile /ˈtæktaɪl/, thoughtful /ˈθɔːtfəl/
- s + consoante no início — sem um “i” antes: stylist /ˈstaɪlɪst/, stack /stæk/
Como praticar com este vídeo
- Ouça o vídeo inteiro uma vez sem falar e anote as palavras que você não conhece.
- Comece na velocidade 0,75×, faça shadowing frase por frase e volte à velocidade normal quando ficar fácil.
- Grave a sua voz e compare com o original, prestando atenção a palavras como aspire, blueprint, confetti.
O que é a Técnica de Shadowing?
Shadowing é uma técnica de aprendizado de idiomas com base científica, originalmente desenvolvida para o treinamento de intérpretes profissionais. O método é simples, mas poderoso: você ouve áudio em inglês nativo e repete imediatamente em voz alta — como uma sombra seguindo o falante com 1-2 segundos de atraso. Pesquisas mostram melhora significativa na precisão da pronúncia, entonação, ritmo, sons conectados, compreensão auditiva e fluência na fala.