I would suggest a different approach.To me this is about timing and coordination between hands, and knowing exactly when the bow is stationary as it changes direction. I would build from very simple experiments towards your examples above while looking down at the bow and strings and listening carefully. Relax your body and still your mind before you start.
(1) Rest the bow gently but firmly on,say, the D string just below the end of the fingerboard. Draw 1/2 or 2/3rd-length strokes at an easy speed with a relaxed bow hold and a musical sound. Keep strokes very flat and simple, with no lift or acceleration through each change of direction. Study and adjust the speed vs length vs weight relationship until you feel the hair catch the start of each new note cleanly and evenly with no scrunch or accent (this catch point is the moment in time we might call the beat if you try playing with a metronome). If your fingers and thumb are relaxed and springy you will see and feel the stick take up slack a little as the hair catches in each new direction. For French bow hold you could also try using only your relaxed index finger and thumb by picking up your back three fingers, to ensure that the strokes remain flat, on the string and simple. No deliberate wrist or finger movements, only the drag-catch-drag of the bow as it changes direction.
(2) Next , on the same string play different combinations of notes, eg E to F and back, always with very even flat simple bow strokes as above. Carefully time and coordinate the change of LH fingers to land or lift just before the moment in time that the hair catches with each new change of direction.
(3) Then try the same relaxed but meticulous timing and coordination backwards and forwards between notes on two adjoining strings or across three strings, tranferring the bow weight from string to string without lifting at the moment the bow is stationary. This requires finishing each bow stroke just as the bow comes to rest on the next string. Start experimenting by leaving a small gap between notes before positively moving in each new direction (a down bow should feel like a down bow and an up an up). Then gradually close the gap.
(4) Now come to the sorts of shifts with bow change that you gave as examples above. The two hands should act independently without disturbing each other. The LH works slightly in advance of the R to set up each note for the bow to play, like a servant to its master. Movements have to be fast and low but relaxed, not jerky, and very late at the end of the old notes in order to set up the new ones for clean even positive note starts.
With practice you can connect notes almost seamlessly if your timing and coordination are very good. The acoustics of the bass can also be used to help because the vibrations of the old note are still decaying in the body as you start the next. Once you have confident control of that moment in time when each note starts you can add in all the other tricks of expression like accents.
Have fun experimenting.
DP
