This book is a gift to those who want to know how the skeleton affects the fleshed figure, and any artist who cares about making their figure drawings should know how those skeletal landmarks create bumps, press flesh, move according to muscles pulling on them, and stay firm when the soft parts don't. It is very good reference for ranges of motion and gender differences, and for placements of muscle groups. It took a ton of work, and I wouldn't be without it.
My criticism is that it gives students a misguided idea that working from the skeleton out to the flesh is a good practice. It is a very good practice in training, but for life drawing, or even imaginary drawing (the way comic-book artists and animators work) it is not a common practice, and for good reason. It is like diagramming every sentence before speaking. Artists are likely to do a bit of it when they must figure out complex poses, but not as often as this book implies.
But I make this specific criticism because the underlying philosophy about becoming an "anatomically aware" artist is great advice for students who want to be masters.
I recommend that figure drawing students buy this book and spend at least a dozen hours immersed in the charts to develop their x-ray vision. It will help them understand the skeleton - the most basic, non-negotiable anatomical component for artists who want to understand human anatomy - and to see that anatomy is the grammar of figure drawing.