Très (End of Triple), the last in a series of three prints, presents a similar composition composed of abstract forms to the two preceding it, yet in varying colour combinations. Seemingly non-representational in its degree of abstraction, the irregular shapes comprising Très (End of Triple) do seem to be derived from recognisable sources. Yet, although appearing unrelated to the natural world, Hockney is depicting a lake and river, which snakes unnaturally about the painting. For example, in the lower third of the composition, there are sailboats sailing on a lake, with a white picket fence surrounding it. Hockney has undoubtedly been influenced by Cubism masters Pablo Picasso and Georges Braque in the creation of the Eine, Deux, Très series. This is most clearly seen in the adoption of multiple-point perspective, enabling the viewer to feel as if they are moving around within the painting. Through utilising various intertwining and rigid planes, Hockney has created the illusion of volume and space, much like the Cubist masters skillfully did.