All you need to know to begin to bring out the flavor of each mode is the location of all the notes of any major scale all over the neck. You don’t have to know every single major scale to get started with this, and the advantage here is that what you learn in one key/major scale applies to all of them.
Let’s take the C Major scale as our ‘parent’ scale. As you know, if you start it on any note other than C it spawns the following modes: D Dorian, E Phrygian, F Lydian, G Mixolydian, A Aeolian and B Locrian. If you learned your C Major scale using the 3NPS system or the CAGED shapes or the three shapes I suggest, then you might be feeling a little hemmed in by these patterns. What we need to find are a bunch of much less obvious patterns to work with.
We’ll use E Phrygian to get started with the idea because a) it has a very obvious sound, and b) you can use the low (or high) E string as a drone. Here’s a pattern on the top two strings which breaks us right out of those boxes. Wherever you see several notes on a string feel free to add slides, bends, hammer-ons, pull-offs etc. Start this pattern using your second finger.
Here’s a similar pattern on the lower strings which you can also start with the second finger. Notice that the b2, by far the most interesting note in the Phrygian scale, is always right next to the root note.
Once you’ve got the hang of it, start applying the same idea to the other modes derived from C Major, and you’ll really begin to be able to bring out the sound of the modes.