all of the above mate. A good groove is often a nice blend of all of those. Tuning yes as well. That's important on all the drum parts.
In terms of full drum or hand percussion loops, at the start of a track when I'm forming synth sounds etc I sometimes use a drum loop at that stage, a bit like scaffolding. it's a quick way of getting the track off the ground and getting the vibe going. Then as the synths parts solidify I will go back to the drums and overdub / program kicks, snare hi hats. After a few overdubs, I might try taking out the original loop. Or sometimes I build the groove up from programmed parts and then see if there's a drum loop that will bring just a add a bit of groove.
But you have to be careful with loops. If you throw multiple loops on top of each other the track can start to sound crowded very quickly. Sometimes a loop will fit sonically but will be a bit too busy. ... so if you use a rex sampler you can always "thin" it out by removing midi notes, keeping the main part of the loop, or just resequence it, in effect using it like a drum kit.
I think the key with drum programming is feel and groove. If you are drawing in your drum parts with a mouse it's more difficult to get a flowing, loose sound going. I always "play" mine in with a keyboard and then use and 85-90% quantize value. Using an arpeggiator on hihats is a neat little trick as that will often impart a nice groove. I will also use the midi delay in logic regions to either bring the parts before or after the beat. That can range from very subtle 1 tick changes to larger values.
Personally I tend like a fairly organic drum sound. So I use Spectrasonics Backbeat which is a collection of lightly processed live drum loops / kits. I will often audition one of those loops to see whether the sound fits, and then play in the groove from the keyboard, cos it's a rex sampler and spreads the hits out over the keyboard. That underprocessed live sound really helps to give a bit of life to the proceedings and you can compress it to your own choosing then. It's a nice contrast to the power and thud of modern sampled electronic kits.
A really good recommendation is to get some Akai MPC sample kits / or simple MPC loops. Although on their own you might think "why do I want to use hip pop sounds?" they can really add meat and depth to a groove. Another recommendation is to get any ryhmic electronic loops you have created well meshed in with any hand percussion loops and build around that. Think syncopation. Do the drum parts create phrases? Also make longer loop braces in your sequencer and pepper those upper fx style hits at the end of say 8 bars instead of at the end of every 4 bars. Look up the term Loopitis.
Here's a typical list of what I might use
1 kick kits from Thomas penderton through exs24 or a kick from logic's ultrabeat
2 Kick and snare (skeletal drum pattern) from MPC kits
3 Hand percussion loops (bongo, table etc from sample library)
4 Hi hats kits from Thomas penderton or exs 24
5 World percussion kits (logic, samp library)
6 Organic drum part programmed from Backbeat rex parts
7 layered snares from psy trance drum kits / Thomas penderton
8 crashes from rock / pop kits
9 maybe some sort of filler electronic loop - I find vierring from Reaktor (or more recently Glitch 2) very good for generating these type of sounds.
Use drum plate reverbs to add a little bit of depth to the sounds without swamping the track with reverb. Also spring reverbs on snares and rhythmic fx parts.
In terms of bus processing I will have light compression and stereo spreading and eq on....
1 main drum part - mpc snares and light kicks / hi hats (the body of the drum part
2 lighter percussive parts (hats, crashes, bongos, rhythmic electronic parts)
3 main kik (on it's own)