Edmond Baudoin grew up in an isolated village in post-war France. Most of his youth he spent drawing with his older brother Piero. When Piero went to art school, Baudoin's parents could not afford to pay for any further studies of their second son, and Baudoin took to office life. All this was recounted vividly in Baudoin's moving comics biography 'Piero'.
Then in the late sixties, the times started a-changing and Baudoin decided to follow his dreams. Similar stories about breaking out of stifling social conventions abound in Baudoin's works, notably in 'Le Premier Voyage' and Le Clezio's literary classic 'Le Proces Verbal' (affectionately illustrated by Baudoin for Gallimard). Baudoin quit his accounting job and started working as a comics "auteur" for various magazines, such as Circus, Pilote and L'Écho des Savanes. By way of these magazines, his masterful, emotional comics language gradually became known. His debut, 'Les Centiers Cimentés', published by Futuropolis, came out in 1981 and marked the beginning of a steadily growing and highly personal body of work.
The largest part of Baudoin's output of the 1980s and early 1990s, was also collected in albums by Futuropolis, such as 'Passe le Temps', 'La Peau du Lézard', 'Un Flip Coca', 'Un Rubis sur les Lèvres', 'Premier Voyage', 'Le Portrait' and 'Couma acò'. From 1984, he was present in the magazines Chic, Zoulou and Métal Aventure. In addition to his many solo works, Baudoin also commenced cooperations with writers like Frank Pé ('La Danse devant le Buffet', 'Avis de Recherche', 'Le Théâtre d'Ombres' and 'La Croisée') and Jacques Lob ('Intérieur Noir' and 'Carla' in À Suivre). Starting in 1993, he cooperated with Z'Éditions, producing books like 'La Mort du Peintre', 'Chagrin d'Encre' and 'Les Chants de Maldoror'. He was also present in La Vie and at Apogée. He contributed to the review Jade by 6 Pieds sous Terre with 'Chroniques de l'Éphémère'. Baudoin cooperated with Cécile Wagner on 'Les Yeux dans le Mur', which appeared in the Aire Libre collection of Dupuis.
Almost all of Baudoin's books are rendered with bold black and white brush strokes, without much dialogue, creating atmosphere by suggestion rather than by explicit text or drawings. In the early nineties, Baudoin made the move to L'Association, an independent editorial house run by young comix artists. For them, Baudoin is nothing less than a legend, one of the major comics artists working today.