Most folks, even darkroom rats, haven't done lith.  It is a real shame because lith gives such a range of looks that you can't get from any other process.  Depending on the look you want you might want the intense colors possible from Fomatone with nearly exhausted developer,.  You may want ultra gritty with a hint of warmth you can get from Fomabrom or Slavich.  Lith tones so much easier than standard printing do give wonderful split tones with toners like gold, selenium , sepia and copper.  Lith gives the practitioner a pallet nearly as deep as a gum printer.  A large number of my prints are lith.  Here is one with the deep yellows with the deeper shadows toned in selenium to make them more gray.  Another example on the samp page is the bus.  The print was lifted earlier in the session and the selenium toning gave a nice split to make the bus seem 3D.  A different approach takes a more neutral print with a wery grainy look for the El tracks.  This was done with Arista lith very early in the session to minimize the color.
I'm be giving a talk about lith at Photostock 12 this year.  It is a great time and I'd encourage all film people to drop by

If you look through my images carefully, there are a number that look impossibly gritty or a bit more colorful than a BW photo ought to  be.  Most of those are lith prints.  A lith print is made using a traditional silver paper.  Warm tone papers like Fomatone work best, but some really old papers like Kodak Polycontrast can give suprising results.  Lith printing takes a very strong developer meant to only develop to extreme high contrast (like black or white) This is (or was) commonly used in the graphic arts industry.  The trick is to use it at high dilutions like 1:1:50.  If helps if you save your old developer from the last session and add it in place of about 1/3 of the water.  The negative is a regular continuous tone neg.  You tend to expose it about 4X what you would for a regular print.  Don't use any contrast filters...there is no need.  The development proceeds very slowly....five minutes is common.  
Contrast contol is done through exposure and development.  You control how dark you want your highlights through exposure....more exposure, more highlight density.  The low end is controlled by development.  The blacks tend to emerge very suddenly and grow quickly.  When you like the color, pull it and get it into stop quickly.  There isn't much more to it.  The great things about it is the incredible range of colors and looks available through paper selection and toning.  Awesome stuff