Back in 2017 we introduced Pixelbook, a high-performance Chromebook that can adapt to your needs. And now we’re making it available to even more people with Pixelbook Go. At barely two pounds and 13 mm thin, it’s easy to bring Pixelbook Go wherever life takes you. And with its starting price of $649, it still has all the features you love about Pixelbook. You’ll get quiet, backlit keys for easy typing in all lighting and powerful processors to handle any workload, with an even bigger battery and 13.3 inch touchscreen. Oh, and it comes in two colors, Just Black and Not Pink.

Design with purpose

And whether you’re running to a class or a meeting, the grippable design of Pixelbook Go makes it easy to carry, and up to 12 hours of battery life keeps the laptop running as long as you are. Even better, you’ll get two hours of battery on just 20 minutes of charging. Made for Google sleeves and these general care suggestions can help keep your Pixelbook Go in tip-top shape.

A huge part of the design of any laptop is its keyboard. Nobody wants to be that loud typer clacking away at their local coffee shop. We took the premium keyboard from Pixelbook and made it more affordable. So rest assured loud typers, we’ve got your back with our quiet Hush Keys.

Under the hood, Pixelbook Go has the same high-performance components you’ve seen in other Made By Google computers. It starts up in seconds and stays fast with automatic updates, so you can count on speedy performance over time. And with built-in security on Chrome OS, Pixelbook Go is both fast and secure. You also have access to all kinds of apps, whether you want to express your creativity, get stuff done or just kick back to watch your favorite show.

Pre-order today

Nicholas Scott's job is out of this world. He’s an astronomer working with NASA, and he uses Pixelbook for everything from servicing telescopes on the road to drawing maps for “Dungeons and Dragons” with Pixelbook Pen. Below, Nic shares how Pixelbook helps him get his job done.

Working at a NASA facility must be exciting, tell us about your work.

I work in high angular resolution imaging at NASA, including speckle imaging and long-baseline optical interferometry.  

Explain what that means for the non-astronomers among us.

Looking up from the ground, the atmosphere acts like a giant ocean and the turbulence in the ocean of air above us distorts the incoming light from stars. This leads to blurry and corrupted astronomical images, but speckle imaging can eliminate that by capturing images faster than the turbulence in the atmosphere can change. Another technique I use is long-baseline optical interferometry, which links up a bunch of small telescopes to create one one giant telescope. These techniques allow you to observe stars and stellar systems and in great detail. With this work, I travel to places like Chile and to the summit of Mauna Kea in Hawaii to service and build telescope instruments.

What’s your typical day like and why do you carry a Pixelbook with you?

It’s hard to know what my day is going to be like. I travel extensively, and I’m gone up to 70 percent of the time between conferences, meetings, and working on telescopes. Technology is completely infused throughout my day, and I need something that is lightweight, has good battery life, and good build quality that I can carry around everywhere. I also love that I only have to carry one charger because I can charge my phone with the same charger as my Pixelbook.

Editor's note: With Pixelbook and Pixelbook Pen, we’ve seen how tech can enable human creativity in outstanding ways. Mike Perry, an illustrator best known for his work on “Broad City,” recently spoke with us about how he uses Google hardware to stoke his creative process.

Keyword: When did you first start considering yourself an artist?

Mike: I've been drawing since I was a child. I'm not really good at anything else. Luckily it's a functional skill that involves creative problem-solving by thinking about complicated things and how we produce art.

Production is one of my favorite parts about just “making” in general. Like, okay, we have an idea. What do we do with it? We can do anything.

Say you’re starting on a new piece, walk me through that process ...

Ultimately a lot of it just comes from the process of making, right? The pure act of doing it on a regular basis means that I have a very robust catalog of images and ideas and ways of making that all collide and come together in the different ways that they need to.

Every project ends up being different, but really it's the same elements, the same essential bits and pieces coming together to make that thing. And sometimes the ideas are first, other times the process is first.

There's nothing better than accidentally discovering that, you know, if you put glow-in-the-dark pigments into resin, you can make glow-in-the-dark resin. And then all of a sudden, you're like, "That's a process experiment that turns into a really beautiful, accidental discovery."

Now we're thinking, "Okay, well, didn't know you can do that." Well, what else don't we know we can do with resin? How can we play with these things? And then ideas form just because of the process.

How has technology affected your work?

I mean, computers are just crazy tools. We could meticulously go through and take an entire drawing apart piece by piece, and then slowly make each one of those elements come to life in its own right.

That idea is pretty simple and basic, but 10 years ago, that's 200 people with months of time and energy. I've been making stuff long enough and I've been confronted by the technology for long enough that the only way it works for me is if it's just seamless. It's like, oh, I have a pencil—which is really important. And I have a Pixelbook—which is really important. And the weight of those tools is equal because they provide an essential step in the creative process.

When I started doing animation, I didn't necessarily know what I was doing, so I said, "I can draw, so I'll draw one picture, and then I'll just draw another one, and then another one, and hope that it works out." Which was fun. There was a lot of mystery in it. You would spend a week of your life just on the light table, drawing. Tracing over and over, layer after layer. And then you would hit "play" and it would go, "Brruuum." Or be disappointing. You know, like, what have I been doing with my life?

But now, obviously you do it digitally. You can just see everything happens in real life. You're not getting lost in the what-ifs all the time—this stuff is about balance.

Why does everybody love cartoons?

Do you ever hit creative roadblocks?

What do you draw for fun?