There are three hundred fifty-two thousand, seven hundred sixteen (352 716) scales in 19-EDO. But since there are nineteen (19) keys, there are only eighteen thousand five hundred sixty-four (18 564) moveable forms. If you are able to easily navigate modes, there are two thousand six hundred fifty-two (2 652) modal families in 19-EDO. Contrast this with the four hundred sixty-two (462) families of 12-EDO, and you can imagine the increased potential for complication.
To begin, though, no one needs to add any more complexity to the scales in 19-EDO than there already is with 12-EDO. Using the classical family of scales as a starting place is ideal. As there is no way any single person could utilize all four hundred sixty-two (462) modal families in 12-EDO, there is no way anyone needs to bother learning more than a handfull of scale families in 19-EDO.
To think of the classical family in notation terms makes the transition trivial. Let us choose the A natural minor scale and generate modes:
A aeolian: ABCDEFGA
B locrian: BCDEFGAB
C ionian: CDEFGABC
D dorian: DEFGABCD
E phrygian: EFGABCDE
F lydian: FGABCDEF
G mixolydian: GABCDEFG
Thinking in terms of half steps (h) and whole steps (w), it is also just the same
aeolian: whwwhww
locrian: hwwhwww
ionian: wwhwwwh
dorian: whwwwhw
phrygian: hwwwhww
lydian: wwwhwwh
mixolydian: wwhwwhw
So what's the difference? Well, now a whole step is three positions (frets) and a half step is two. So in terms of positions:
aeolian: 3233233
locrian: 2332333
ionian: 3323332
dorian: 3233323
phrygian: 2333233
lydian: 3332332
mixolydian: 3323323
Counting the scales from flatness to sharpness, the scale numbers are
#8991 Locrian
#9012 Phrygian
#12015 Aeolian
#12019 Dorian
#12514 Mixolydian
#12515 Ionian
#12599 Lydian
Similar analyses can lead to the harmonic and melodic minor scales:
In 12-EDO:
A Harmonic Minor: A B C D E F G# A / 1 2 b3 4 5 b6 7 / w h w w h a h
A Melodic Minor ascending: A B C D E F# G# A / 1 2 b3 4 5 6 7 / w h w w w w h
In 19-EDO
A Harmonic Minor: A B C D E F G# A / 1 2 b3 4 5 b6 7 / w h w w h a h
A Melodic Minor ascending: A B C D E F# G# A / 1 2 b3 4 5 6 7 / w h w w w w h
Notice that the scales are the same. The fingering is the same, the notes are the same, the intervals are the same...the only difference is how the frets are spaced.
We can do the same analysis for any popular scale families in 12-EDO, like harmonic major, hungarian minor, neapolitan major, whatever.
The quickest way to learn new scale families with so many possibilities is to start with something familiar and then change an interval or two and see how it sounds. Because the majority of possible scales in 12-EDO sound strange and unwelcoming to most people's ears, a vast majority of the eighteen thousand five hundred sixty-four forms in 19-EDO are very difficult to use. Take advantage of the translation from 12-EDO to 19-EDO.