In the context of contemporary visual communication, the line language of traditional Chinese painting—renowned for its expressive power and cultural depth—is gaining renewed vitality in modern illustration design. Drawing on Charles S. Peirce’s triadic model of semiotics (sign–object–interpretant), this study conceptualizes traditional Chinese line techniques as a culturally embedded visual sign system. It explores innovative strategies for reinterpreting and translating these lines within modern design practices.The research focuses on representative works by contemporary Chinese illustrators across branding, packaging, and cultural communication contexts. Particular attention is given to four classical line techniques: Gao Gu You Si Miao (fine flowing silk lines), Tie Xian Miao (iron-wire lines), Wu Dai Miao (ribbon-like contour lines), and Jian Bi Miao (minimalist lines). These methods are analyzed in terms of visual structure, symbolic encoding, and the interplay between line rhythm and cultural narrative.，Findings reveal that traditional Chinese lines function not only as visual media but also as narrative and emotional cultural signs. From a semiotic perspective, this study constructs a theoretical framework for understanding the reconfiguration of traditional visual language within modern illustration. It offers both conceptual insights and practical strategies for cultural innovation in design, contributing to the global repositioning of traditional aesthetics in contemporary visual discourse.