This work aims to study some concepts discussed by the international constructivist vanguards and their impact on the Brazilian constructive project. The research verifies that the emergence of the concrete art and the establishment of the industrial design as a discipline in Brazil, during the 1950’s and 1960’s, were inserted in a national program of modernization, developed amid tensions. The divergence between the Rupture Group (1952), from Sao Paulo, and the Front Group (1953/1954), from Rio de Janeiro is examined, revealing different interpretations upon the constructive trends. The Neoconcretist Manifest (1959) is analyzed as a reaction to the rationalist exacerbation of the concrete art in a moment that the politics for the country’s development was in crisis. It is noticed that the search for autonomy in the creative process caused an impact in the graphic production of some artists who integrated the Neoconcrete Group. In this context, the dissertation examines closely the Lygia Pape’s graphic design for the New Cinema Movement, between 1961 and 1967, elucidating in which ways the neoconcrete ideals are reflected in her letterings and posters. The transgression of certain international design’s rules, the dissolution of the boundaries between art, design and cinema, and the references to Brazilian popular art, Expressionism, Dadaism and American Pop Art are indications that the artist went beyond the limits defined by the concrete theories. Finally, the investigation of Lygia Pape’s vignette for the Cinematheque of MAM-RJ (1963) reveals a link between her conception of anti-film and the New Cinema Movement’s ideas.