4-part texture is a good vehicle for this exploration, because it offers up opportunities in chordal and melodic writing while staying in the confines of the grand staff.
The first concept to explore is doubling. If we are using triads within a 4-part texture, we need to double at least one note from the triad to complete a 4-part chord.
Ex.
The basic rule for doubling is to be sure the note you are doubling is a stable note. You may ask,"What the heck does that mean?" The root (note that names the triad) of most triads is a stable note and is the preferred double. The leading tone (or 7th note of the scale) is generally avoided as a double because it is believed to be an unstable sound (I am not making this up).
In general you should double the root of the triad in four parts. Less often the 3rd and 5th.
In some instance you may even want to triple the root (if you truly desire this option, be sure your remaining voice is the 3rd and not the 5th.)
If you would like to double 2 notes from your triad, be sure they are the root and 3rd (omit the 5th).
...and we are just getting started.
Check out his lesson on voicing triads on the grand staff.
Hopefully this puts you in a position to build some 4-part texture. I have made a template that involves a bass line and a figured bass analysis. Your job is to complete a 4-part texture that conforms to common practice rules of doubling.
Complete 4-Part Texture
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