The dial is, hands down, the star of the show. It’s also a bit difficult to describe. It’s not quite matte, nor is it glossy. It falls somewhere in-between the two. And then there’s the color. Junghans calls it anthracite, but that seems wrong. When I hear anthracite, I imagine a lustrous dark grey. That’s not the case with the 3401. The dial is certainly grey, but it’s neither dark nor lustrous. Nor is too light. Again, it falls somewhere in-between.
Part of the difficulty in accurately describing the color is that the dial tends to pick up tones from whatever lights source it’s under. Under diffuse daylight (think a cloudy winter day), it’s a cooler subdued gray. The bluer tones of the light tame the colors on the dial, almost desaturating it. Under direct sunlight, the grey looks warmer and slightly oversaturated, and the hour markers pop. And under incandescent light, the dial darkens.
The rest of the dial is easier to talk about. It’s curved, staying true to the watches of the era of its birth, and it works wonderfully with the dome of the crystal. The Arabic hour markers are parchment-colored, while the minute indices feature a beautiful mirror polish. This contrasts beautifully against the grey of the dial, and the effect is, as Zach mentioned, a palette that looks almost sun-bleached. One criticism that I’ve read is that this makes the watch face far less legible than other watches in the Max Bill line, but I haven’t found that to be true. “JUNGHANS AUTOMATIC” is printed in reflective silver.