This dissertation presents a possibility to (re)think the professional performance of the contemporary designer through the artisanal practice of ceramics. Seeking manual procedures, it dialogues with a singular and time-consuming time, the time of clay. Based on the thinking of Tim Ingold (2013), Richard Sennett (2008) and Donald Schön (2000), for example, we propose a tacit, corporeal approach of experiences for the professional in order to reconnect the design of its artisanal origins. Looking at ceramics, we run into questions that go beyond one s own doing and open paths, necessary, of questioning the social hegemony of patriarchy also in the field of design. An expanded and inclusive worldview is proposed, and in this context, gender studies can contribute to a historical repair of the erasure and social invisibility of the female material contribution to the projective field, as well as introduce methodologies that help in the deconstruction of homogenizing and/or patriarchal methods. Having as object of study the productive system of handmade ceramic made by women, a parallel was drawn on the issues of gender, creation, socioeconomic interest and sustainability present in this artesania.