+1 regarding Tim Rudman's book.
With respect to my process:
1) I haven't done much printing on FB paper in the last few years, so I'll just write about RC;
2) Whatever I do, I first make sure that my prints are fully fixed and well washed. I usually do all my printing first, including a full wash and air dry. My toning sessions are on separate days;
3) I have played with a few more exotic toners in the past, but essentially all my current toning involves some combination of a rehalogenating bleach, sepia toner, selenium toner and Berg Brown toner;
4) I like to "play" with toning. I'll experiment with different combinations/permutations until I achieve tones I like. It is not uncommon to end up with two different results I like, which sometimes means making hard choices;
5) I keep rehalogenating bleach at hand. Sometimes I'll use it simply for bleaching a print (rather than something like Farmers Reducer), which necessitates that prints be fixed and washed thereafter;
6) A lot of my prints are on neutral tone Ilford MGIV RC paper. That paper responds very little (visually) to Selenium toning. If I want to get more of a visual response to Selenium, one trick is to bleach the print back using the rehalogenating bleach, re-develop it, fix and wash and then Selenium tone;
7) My split-toning usually involves a split between sepia and selenium toning. I use the rehalogenating bleach to control how much sepia tone is added - primarily to the highlights. Usually I partially bleach, rinse, fully tone, rinse and then follow with selenium toning to near completion. The selenium toning (visually) affects the shadows more, but really only acts on those parts of the print that have not been converted by the (partial) sepia toning. So with a paper like Ilford MGIV, which doesn't respond a lot (visually) to selenium, you don't see much effect from that toner;
8) If I want more visual effect from the selenium part of the split I either:
a) bleach less, rinse, sepia tone fully, rinse, and then leave the print for a really long time in the selenium; or
b) bleach more, rinse, partially sepia tone, rinse, re-develop, fix, fully wash, then selenium tone;
9) of the previous two options, the second increases the effect of the selenium toning. The rehalogenating bleach first lightens the print. The partial sepia tone doesn't fully darken the bleached image, and the subsequent re-development and fix may stop it from returning it to full density. In addition, the early bleach step makes the non-sepia portion of the image much more susceptible to selenium toning that strongly alters the appearance of the image;
10) alternatively, I also use the Berg Brown toner. It allows adjustment between a slight warming of the image tone, through a more chocalate brown, through a red/copper tone, all by lengthening the time;
11) in each case, I like to follow everything with a bath in hardener, followed by a full wash. The Part B hardener that comes packaged with Kodak Rapid Fixer works perfectly. You dilute it one part concentrate plus 13 parts water. I've yet to find any capacity information for the working strength solution.
When split toning, the main trick of course is how to balance the ratio between the sepia toner's effect on the highlights and selenium toning's effect on the shadows. The other trick is to know how dark or light you need to make your print in order to make it suitable for the toning.
When you start doing this, be sure to keep notes and identify your prints in a way so you can match the printing and toning choices made with it. I would recommend as well having a standardized light source for evaluation of the results.
Hope this helps, and you have fun.
