I think it's a good idea, because so many things in music are about relative relationships. You have a deeper understanding of scales overall if you think of the commonalities between major/minor scale and the small changes that make them different.
As an aside I would look for, or make, diagrams that label the scale degrees rather than the fingers. With that labeling your scale diagram looks like...
The major third
^3 and major sixth
^6 scale degrees are circled in yellow. Those are the two modal degrees that define the scale as major.
If you just shift those two degrees down one fret, the tones become the minor third and minor sixth scale degrees, and the scale is now the harmonic minor scale.
There are three types of minor scales, but we don't need to get into those details now. The point is all of them can be formed with relative changes to some other scale, like the major scale as a sort of default reference point.
You can expand that idea further and divide up scales into tonal degrees - the root, perfect fourth, and perfect fifth - and variable modal degrees - second, third, sixth, and seventh.
If we put the tonal degrees into the big dots and the modal degrees - natural and lowered forms - in plain numbers, the diagram looks like...
At first glance that looks like a big mess of numbers. But the idea is to learn what modal degrees define each scale and then fill them in between the tonal degrees or shifting from some base scale.
Natural minor will use
♭3 ♭6 ♭7, fill in those between tonal degrees or drop them down from natural
3 6 7 of major. Then, when that scale is familiar to you, you can make further changes. For example, dorian mode will take that natural minor scale and raise
♭6 up to natural
6. Or, you can get the phrygian mode from natural minor by dropping the natural
The type of box your have is very popular, and you see it a lot for the "CAGED" teaching system for guitar. But, you can also think of scales as combining two tetrachords, and comparing relative relationships. There are four main tetrachords - major, minor, phrygian, and harmonic. Just those four patterns can be combined to make all the major and minor scales, diatonic modes, and several important "exotic" scales. The idea is not as popular as "CAGED", but then again "CAGED" will keep you stuck in diatonic scales only. You can find tutorials online about the tetrachord method for scales.
You also might look up "three notes per string." That uses boxes similar to what you have, but differs on the B string, giving three rather than two notes. You can get fingering patterns more consistent across the strings that way.