One way I found that's interesting is where I look at address. I find that fixating my eyes a few inches before or after the ball and keeping a steady head will make me turn either more or less before I feel "loaded", and keeping the same tempo will result in either a high fade or low draw without changing ball position. This basically makes the shoulders change their angle so you don't cause tension from your head's position, essentially squaring up your shoulders with your eye line. This way, you hit more in to out with a shorter backswing looking on the target side, but out to in with a longer backswing looking behind the ball. The angle of the face and timing your release is a little different than normal, but you're on your own to figure out that part. When I found this to work for me, it helped me hit straighter and more solid rather than facilitate working the ball. It works really nicely on everything from putting to a power drive, since there isn't a tendency to wander off plane.
(Eric's thread refers to this method as "eyelines", I discovered it as more of a checkpoint to ensure my plane was correct when looking directly at the ball.)
I find the method of opening and closing the stance still to be tricky with regards to ball position for me, though I can control the starting line I don't have great control over the amount of curve. I hate the grip method, I prefer to play every shot with a strong grip because I feel the grip changes too many things and I don't want the habit of changing grips as a correction.
In practice I actually don't like to hit draws and fades on shots I really aim. When I fixate on the ball, keep a steady head, hold off the club a bit and finish my swing, I'm hitting remarkably high and straight irons. I never really like to hit a little draw or fade intentionally. Better to save the intentional curve for an emergency, IMO. I do tend towards a bit of fade on shots off a tee, because hitting up is the best way for me to make solid contact.