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A teacher I had would try to simulate the opening of the throat feeling by having students take breaths through a short piece of 1" or 3/4" PVC pipe. Works great for opening the airway.

Arnold Jacobs always said that embouchure is not a study of meat, it is a study of sound; if you sound better than anybody else, they'll copy what you do.

Don't worry about how it looks or feels, but go for the product, an excellent sound. But make sure that you're using plenty of air. Many times ebouchure problems are really air problems, that is, the lips are not getting enough fuel to support their vibration.

Make sure you're not cutting off the air with the tongue by allowing it to rise up in the oral cavity. Keep it low by thinking low vowel sounds, OH, OOH, or AAH, as opposed to EEE.

Take a big breath like a yawn, and breathe often, using plenty of air when you play. Practice at a middle dynamic (mf or f) in the middle register.

Playing simple tunes on the mouthpiece alone is also excellent for embouchure development.

I completely support the motion for more air. However, is there ever a time I am allowed to talk about my embouchure without offending anyone? A point at which, increasing air flow, building up strength or visualizing sound are not the only answers- and I don't mean mouthpiece or equipment either.
Sometimes I feel that when I ask questions about face issues I am commiting some sort of heresy. I understand air is an important component and a lot of 'issues' just take repetition and practise. I also see it can be sensetive since everyones' embouchure is different. But...

If such a situation could exist, that one would need to consciously change or improve their embouchure, perhaps make more consistant, how would one go about it? Is public discussion or educational pursuit of this topic permitted or will I be stripped of my tuba and told to go work on my grammar?