跟讀練習: 8 Designs That Inspired i-D Magazine's Editor in Chief | Source Material - 通過影片學習英語口語

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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.

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本課的詞彙與口語要點

這節 B2 級別的口語課以影片“8 Designs That Inspired i-D Magazine's Editor in Chief”為素材。影片中反覆出現的詞有：magazine, cover, issue, design。這段影片共有 88 個句子、1236 個單詞可供跟讀。講話部分時長為 6:50。說話人語速較快，每分鐘約 181 個詞，會出現較多連讀和弱讀。 83% 的單詞屬於英語最常用的 3,000 詞，其餘的詞建議在練習前先學一下。

影片中的重點詞彙

影片中最難的 15 個單詞，附發音和釋義：

單詞	發音	釋義
aspire 動詞	/əˈspaɪɚ/	熱望 /熱望, 渴望
blueprint 名詞	/ˈbluːˌpɹɪnt/	藍圖 /藍圖
confetti 名詞	/kənˈfɛ.ti/	五彩紙屑 /五彩紙屑
encapsulate 動詞	/ɪnˈkæps(j)ʊˌleɪt/	概括, 梗概
glossy 形容詞	/ˈɡlɔsi/	光澤 /光澤
obsess 動詞	/əbˈsɛs/	迷住, 著魔
retrospective 形容詞	/ˌɹɛt.ɹə(ʊ)ˈspɛk.tɪv/	懷舊的 /懷舊的
sandal 名詞	/ˈsændəl/	涼鞋 /涼鞋, 草鞋
wasteland 名詞	/ˈweɪs(t)ˌlænd/	荒地, 廢土 /廢土
boutique 名詞	/buˈtik/	時裝店 /時裝店, 精品店
chic 形容詞	/ʃik/	優美 /優美
rigid 形容詞	/ˈɹɪd͡ʒ.ɪd/	硬性, 僵硬
collaborative 形容詞	/kəˈlæb.ə.ɹə.tɪv/	協作的 /協作的
thoughtful 形容詞	/ˈθɔːtfəl/	周到
obscure 形容詞	/əbˈskjʊɹ/	不清楚, 陰暗 /陰暗

影片中出現的短語動詞

單詞	釋義
come up 動詞	上來 /上來
go out 動詞	出, 出口
go through 動詞	通過 /通過

影片中的語法

說話人最常用的結構，並附上影片中的原話：

結構	影片中的用法
被動語態 be + 過去分詞 — 強調發生了什麼，而不是誰做的	is just folded · was funded · was created
定語從句 who / which + 從句 — 補充說明人或事物	friends who make · Builder, which are · winking, which was

需要注意的發音

說話人用了 4 次縮略和弱讀形式，例如 I'm, don't, I'd。請按聽到的簡短形式來說。

“th” 音: mythical /ˈmɪθɪkəl/, thoughtful /ˈθɔːtfəl/, thesis /ˈθisɪs/
“sh” 和 “zh” 音: chic /ʃik/, nationwide /ˌneɪ.ʃənˈwaɪd/, recommendation /ˌɹɛkəmɛnˈdeɪʃən/, politician /ˌpɑ.ləˈtɪʃ.ən/, reflection /ɹɪˈflɛkʃən/
長單詞——注意重音位置: encapsulate /ɪnˈkæps(j)ʊˌleɪt/, retrospective /ˌɹɛt.ɹə(ʊ)ˈspɛk.tɪv/, collaborative /kəˈlæb.ə.ɹə.tɪv/, systematic /ˌsɪs.tɪˈmæt.ɪk/, recommendation /ˌɹɛkəmɛnˈdeɪʃən/

中文母語者容易讀錯的音：

/v/ — 不要讀成 /w/，上齒輕觸下唇: expressive /ɪkˈspɹɛsɪv/, retrospective /ˌɹɛt.ɹə(ʊ)ˈspɛk.tɪv/, collaborative /kəˈlæb.ə.ɹə.tɪv/, archive /ˈɑɹˌkaɪv/
詞尾子音 — 要讀清楚，後面不要加母音: blueprint /ˈbluːˌpɹɪnt/, encapsulate /ɪnˈkæps(j)ʊˌleɪt/, expressive /ɪkˈspɹɛsɪv/, obsess /əbˈsɛs/, ornate /ɔɹˈneɪt/
/r/ 和 /l/ 的區別: blueprint /ˈbluːˌpɹɪnt/, collaborative /kəˈlæb.ə.ɹə.tɪv/, reflection /ɹɪˈflɛkʃən/

如何用這段影片練習

先完整聽一遍影片，不要開口，記下不認識的單詞。
先用 0.75 倍速逐句跟讀，熟練之後再回到正常速度。
錄下自己的聲音並與原聲對比，特別注意 aspire, blueprint, confetti 這類單詞。

什麼是跟讀法？

跟讀法 (Shadowing) 是一種有科學依據的語言學習技巧，最初開發用於專業口譯員的培訓，並由多語言者Alexander Arguelles博士普及。這個方法簡單而強大：您在聽英語母語原聲的同時立即大聲重複——就像是一個延遲1-2秒緊跟說話者的影子。與被動聽力或語法練習不同，跟讀法強迫您的大腦和口腔肌肉同時處理並模模擬實的講話模式。研究表明它能顯著提高發音準確性，語調，節奏，連讀，聽力理解和口語流利度——使其成為雅思口語備考和真實英語交流最有效的方法之一。

影子跟讀法: 閱讀完整分步指南 →

跟讀練習: 8 Designs That Inspired i-D Magazine's Editor in Chief | Source Material - 通過影片學習英語口語

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