There are other logical ways of constructing voicings; too many to describe individually here. Most approaches are similar in that they they associate a scale with each chord and construct the voicing from notes in that scale. By using a scale approach, you can devise your own patterns for voicings. For instance, a second with a third stacked on top is a somewhat dissonant but not too cluttered sound that many pianists use extensively. For a chord such as Fmaj7, you can apply this format at any position in the associated F lydian or F major scale. Since the F major scale contains an avoid note (Bb) in this context, one would normally opt for the lydian scale and the B natural, so that none of the generated voicings would contain any avoid notes. The particular pattern described above yields “F G B”, “G A C”, “A B D”, “B C E”, “C D F”, “D E G”, and “E F A” over the F lydian scale.
Most of these voicings are very ambiguous, in the sense that they do not readily identify the chord. As with the 3/7 and quartal voicings, however, you will find that the presence of a bass player, or just the context of the chord progression being played, will allow almost any combination of notes from a given scale to make an acceptable voicing for the associated chord.
You may wish to experiment with different patterns and different scales to see if you can find any voicings you particularly like. Often, the goal is not to find a voicing that completely describes a given chord, but rather to find a voicing that conveys a particular sound without seriously corrupting the chord. You may find that at a given point in the music, you may wish to hear the characteristic authority of a perfect fifth, or the characteristic dissonance of a minor ninth or of a cluster of several notes a second apart, but without the characteristic wrong note sound of a completely random selection of notes. Thinking of the associated scale and putting your sound into that context gives you a logical and reliable way to get the sound you want without compromising the harmony.