About

Origins

Jebu began as a small printmaking project in a garage and grew into a studio dedicated to turning original woodcut prints into wearable art. David Pratt first encountered printmaking at Florida State College at Jacksonville under Patrick Miko, whose approach to woodcuts shaped his creative foundation. After returning home, David began printing a few shirts and posting them online — and soon found a community drawn to the tactile, imperfect beauty of hand-printed work.
Festivals, pop-ups, and collaborations followed, including a partnership with Bradley Blair, Jebu’s co-founder, who helped shape its identity, and has since gone on to launch Blairwich.

Philosophy

Jebu explores the tension between the strange and the familiar, the light and the dark, the polished and the raw.
The work reflects the idea of seeing duality as a whole — where every piece carries its own imperfections and contradictions. It’s about finding emotion in the everyday, and meaning in what might otherwise go unnoticed.

Process

Each Jebu garment begins as a woodcut carved from MDF using gouges of varying sizes. Ink is rolled over the carved surface, then pressed by hand onto the fabric using a printing press.
The result is a unique print — often a one-of-one — created through a mix of intention, intuition, and chance. No two are ever identical, and that’s the point.

Clothing as Canvas

Jebu treats clothing as a living gallery. Every shirt, hoodie, or jacket becomes a moving artwork — something that can be seen, felt, and experienced out in the world. When someone wears a Jebu piece, they’re part of the art itself.

The Name

The name Jebu came from two VW buses - JOBU and EBBY - owned by David and Bradley. Combine them, and you get something new: Jebu — a word with no past, free to become its own meaning.

Looking Ahead

Jebu continues to grow toward a dedicated studio and retail space — a place where people can watch the printing process, explore new collections, and connect directly with the art.
Every piece made at Jebu carries a trace of the hand that printed it — and the idea that art doesn’t have to hang on a wall to be alive.

The Early Days, circa 2017:

Hoxeyville 2019:

Wheatland 2025: