Heinz Edelmann (1934–2009) is one of the most renowned graphic designers and illustrators of the second half of the 20th century. He was born in Czechoslovakia and finished his studies at the Academy of Fine arts in Düsseldorf. At the beginning of his career, he became known for the posters that he did for the theatre and advertisements. His illustrations as well as cover designs appeared regularly in the internationally acknowledged German avant-garde magazine Twen. He was also an illustrator for the Frankfurter Allgemeine Zeitung. 

He is best known for the animated psychedelic classic The Beatles’ Yellow Submarine from 1968, where he worked as creative director, typographer and also screenplay writer. He taught at several art schools in Germany and the Netherlands, finally as Professor for Graphic Design at the Academy of Fine Arts in Stuttgart. Edelmann was an Alliance Graphique Internationale member since 1964. His works are represented in international design collections. He was awarded several prizes and honours, amongst them in 1984 the Kulturpreis der Stadt Essen and in 2005 the Masters Series Award SVA, New York.

"Heinz Edelmann belongs to that small number of Graphic designers who have done almost everything: hundreds of posters for theatre and German television, illustrations for magazines, children’s books, a famous animated film – the Beatles’ Yellow Submarine – art-direction for the Pütz agency, book covers for the Stuttgart based publishing house Klett-Cotta, taught as professor, received numerous awards and distinctions.
I am sure I have forgotten something, because with the exception of learning to use the computer, Edelmann knows how to do everything.
More than anything, and it is often forgotten to mention this, he is an outstanding Typographer. His finest posters, made with very limited means, show how he manages to integrate enormous quantities of text without it ever becoming boring or repetitive.
He is also an impassioned and productive draughtsman, an inventor of funny characters who can endlessly play with the symbols he has chosen (the bread, the hand, a music note): a colourist who never hesitates in his lavish use of colour.
He is above all a man, with his modest and good natured appearance and his sense of humour who can get to the heart of things but also can build with a childlike wonderment, year by year, little worlds that in the end form his heedful and generous universe."

— Alain Weill, curator and critic