I'm not sure mapping each mode to a chord helps. When I learned the patterns for the major scale I just made scale charts on the finger board for each and practiced. The patterns on a guitar in standard tuning are what they are. There are a few things that might help. One is to know the pattern of steps and the tetrachords in the major scale. Breaking the scale in to smaller chunks helps with memorization. Then to know how the modes are related to scale degrees. For example, if you're in the key of G at the 3rd fret the relative Phrygian mode will start on the 7th fret (B), etc. With some effort you will see the relative Major scale embedded within each mode pattern. After enough time I just don't think in terms of modes and the entire neck is defined in terms of the diatonic scale. William Levitt's scales patterns are somewhat helpful in this regard as he encourages the student to see each pattern as a form of the Major scale rather than a mode. Keep in mind that there are several ways to play the major scale, there are forms that stay in one position, three note per string patterns that move up the frets, and patterns that maintain the same finger grouping while shifting. So, all that work needs to be repeated for each of these patterns. Rather than learn them all it might be better to focus on 4 or 6 note groupings on 2 strings and figure out where those patterns are.
As for the Melodic minor and its relative modes, I tend to think in terms of how the altered notes (sharp 6 and 7) serve to create a resolution to the i chord, and memorize the relative ii - V7 - i and other progressions in the minor key. It also helps to understand that these notes are #4 and #5 of the relative major creating an augmented feel in that key.