This work seeks to discuss the uses of typography in the concrete poetry production in the second half of the 1950 s. The choices made by the concrete poets in this decade are addressed both in regard to relations established in the literary world as well as in approaching with artists linked to the avant-garde music and Concrete Art. The appropriations of elements resulting from these contacts imply an approach to design, which provided fundamentals elements to the practices and representations of the poets at that time.