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A set can be abstract (i.e. doesn’t look like a real place) and still involve textures. For example, this giant map-on-a-floor was textured to look stone-like.
King Lear, 2010 (set by B. Conrad)
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This is a great task if you have a lot of labour to use during put-in - divide the group into two, give each group a paint colour, and make them try to out-skull each other. If you want to get really fancy you can designate a light green side, a dark green side and a war zone in the middle, to create a nice gradient effect across the stage.
Sculled floor in Midsummer Night's Dream, 2008 (set design by B. Conrad and G. Kane)
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4. Speckle/wash/otherwise distress the floor as usual
Flagstones in Romeo & Juliet, 2011 (set design by G. Kane). Also demonstrates floor-speckling, below.
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N.B. PVC glue takes a very long time to dry indeed. Bear this is mind – you might even want to thin it out with water a little to help it dry quicker. Employ the paper-mache technique you learned when you were three of running the strips through your fingers to get the excess glue off before you apply them.
Wood effects in Midsummer Night's Dream, 2008 (set design by B. Conrad and G. Kane)