My advice is to avoid making positives from a c-41 neg. It's strictly hit-and-miss with exposure and development. I think a fun first approach would be in-camera seps. Use 29, 61 and 47b Kodak gel filters on (ideally) a sheet film camera and shoot three exposures of a still subject. You'll develop the red and green about the same and the blue will need extra development. With sheet film you can process all 3 sheets at once in a tray. You clip one corner on the magenta neg and two corners on the yellow so you can ID them while processing in the dark. You can postmask the negs for highlights or for shadow detail or just go with them naked.
Contact print them on your matrix film and you can even roll them in register by eye. Lay down the yellow first, then magenta, then cyan. Use a mylar slip sheet and a lupe to register before applying roller pressure.
I had a dye lab in Houston and later moved to NYC to work for Frank Tartaro - something of a legend in the business. I think we rolled our last print in 1990, but prior to that we made prints for Robert Mapplethorpe, Avedon, Eggleston, Penn and a lot of boring ad stuff.
It's a beautiful and fascinating process, but honestly, I'm very impressed with where ink jet printing is at now. A dye took a full day to produce in a professional lab - an Epson takes 10 minutes and takes up a couple of square feet of real estate.